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Proper FCPS3 config on new 2010 Mac Pro
Hi, all, I have mid-2010 8-core Mac Pro 2 x 2.4 quad chips, 12 GB Apple ram, 5770 graphics. I directed a standard-def, 16 x 9 format two camera switched shoot, recorded it on a Betacam SP Sony 1800 deck. I am limited to digitizing through the s-video port. Should I use the DV codec or are their better prores settings to get optimal editing performance & picture quality results? Want standard-def, 16 x 9 results. Many thanks for any help, COW rocks!
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11 Replies
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ProRes 422, and check the anamorphic box.
[Marshall Thompson] “I am limited to digitizing through the s-video port.”
Through what device?
David Roth Weiss
Director/Editor/Colorist
David Weiss Productions, Inc.
Los Angeles
https://www.drwfilms.comPOST-PRODUCTION WITHOUT THE USUAL INSANITY ™
A forum host of Creative COW’s Business & Marketing and Apple Final Cut Pro forums. Formerly host of the Apple Final Cut Basics, Indie Film & Documentary, and Film History & Appreciations forums.
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Older data video DAC 15
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Will it even do ProRes? Or, is it DV only?
David Roth Weiss
Director/Editor/Colorist
David Weiss Productions, Inc.
Los Angeles
https://www.drwfilms.comPOST-PRODUCTION WITHOUT THE USUAL INSANITY ™
A forum host of Creative COW’s Business & Marketing and Apple Final Cut Pro forums. Formerly host of the Apple Final Cut Basics, Indie Film & Documentary, and Film History & Appreciations forums.
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I just migrated from my old G-5 so I’m not really knowledgeable at all about prores, sorry.
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The sequence setting I curently have is prores 422 (LT) NTSC and it seems to be playing OK some 16 x 9 DVCAM test footage I shot at the same event
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OK, David, so now the sequence codec is prores 422 anamorphic, do I also capture as DV anamorphic? Thanks again for your help.
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This is confusing now Marshall. The sequence settings aren’t as important as the codec you captured to at this moment. Look at the clip in the browser and see what they are before doing anything else.
David Roth Weiss
Director/Editor/Colorist
David Weiss Productions, Inc.
Los Angeles
https://www.drwfilms.comPOST-PRODUCTION WITHOUT THE USUAL INSANITY ™
A forum host of Creative COW’s Business & Marketing and Apple Final Cut Pro forums. Formerly host of the Apple Final Cut Basics, Indie Film & Documentary, and Film History & Appreciations forums.
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OK. I captured a second clip – both of these from my HDV camera via firewire as 16 x 9 DVCAM – haven’t set up the Beta via the data video box yet – and it looks correct with the capture codec DV anamorphic. It does not give me a prores capture option.
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And now I have the Beta coming through the Data Video Box via s-video captured in anamorphic DV. Looks good, is this optimal then? Thanks, David.
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[Marshall Thompson] “Looks good, is this optimal then?”
Well, it’s not exactly optimal, but I think it’s all you can do with that A to D converter, and at least your material matches too.
What I would do is, drop a clip on the timeline in a new seq., let FCP match the settings to that clip for you, and then edit away.
However, when you’re done editing, go into Sequence>>Settings and change the Compressor to ProRes 422, then re-render the sequence. That will change the color space and make your graphics pristine looking without the erosion of DV compression. Your video won’t get better though with this step, just graphics, text, and stills.
David Roth Weiss
Director/Editor/Colorist
David Weiss Productions, Inc.
Los Angeles
https://www.drwfilms.comPOST-PRODUCTION WITHOUT THE USUAL INSANITY ™
A forum host of Creative COW’s Business & Marketing and Apple Final Cut Pro forums. Formerly host of the Apple Final Cut Basics, Indie Film & Documentary, and Film History & Appreciations forums.
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