-
ProRes workflow help for MacBook Pro
Hi,
I am directing and will be editing a short dance film at the end of the month which will go to Festivals and to broadcast in SD and possibly HD (contract confirmed). Here are the details:
Shooting: Sony F900 H Camera.
Editor (me) has:
Macbook Pro 15″ (early 09) with 4 gig ram, 2.53 ghz processors, and the 9600/9400 video.
Lacie FW800 Terabyte Hard Drive
Final Cut Studio 3
24″ Cinema DisplayI do not have an HDCAM deck, and will be using another suite to transfer the footage onto the HDD so I can edit it.
On this system I will:
EditI will not do:
Sound/music/colour correctionI want to avoid:
Recapturing from tape at an online suite if possible. I want to be able to output to HDCAM (at another suite of course) once this is done, but with the files I have on my drive.Here’s what I thought (and want your feedback):
Capture HDCAM footage at ProRes 4444 format at the “other” edit suite
Edit.
Output to HDCAM at the end.CAN my Macbook Pro handle Prores 4444? (It can handle footage from the Panasonic P2).
If not, can I just use compressor to put it in ProRes Proxy or LT, edit with those files and give the online suite the Prores 4444 files?
If you would recommend a different workflow, please let me know that (and why). Thank you.
-
3 Replies
-
[Rick Rose] “Capture HDCAM footage at ProRes 4444 format at the “other” edit suite”
WAAAAAAAAYYY overkill. ProRes 4444 is for exporting footage with an embedded ALPHA channel. Even ProRes HQ would be overkill (and would NOT work with a FW800 drive). HQ is for 2K resolution really. Regular ProRes 422 will be fine, and work with a FW 800 drive.
[Rick Rose] “CAN my Macbook Pro handle Prores 4444? (It can handle footage from the Panasonic P2)”
No. DVCPRO HD P2 has a much LOWER data rate…easily handled. ProRes 4444…again…is overkill.
Forget LT, forget 4444. Put 4444 out of your mind unless you are delivering keyed footage with embedded alpha. ProRes 422 is perfect for most situations.
Shane
GETTING ORGANIZED WITH FINAL CUT PRO DVD…don’t miss it.
Read my blog, Little Frog in High Def -
Thank you. Great!
-
As long as we’re talking about it, I’d like to hear some opinions on what anyone would consider the *practical* working ProRes (or other) codec/resolution limits on the current batch of MacBook Pros? I’m not so interested in “what’s the absolute max it can handle?”, but rather what do you use on a regular basis? Or, what’s the max it can handle without you wanting to shoot yourself?
I’m most curious to hear about about experiences with FCP 7 & Color, but also AfterEffects & Motion.
Thanks!
Reply to this Discussion! Login or Sign Up