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>>> Questions – New to FCP from Media 100
Howdy:
10 year Media 100 user just recently bought FCP Studio and MacPro, diligently working through tutorials and wondering what codec I should be working in and what array and monitoring solution I should be purchasing – and that day is rapidly approaching!
Questions:
1. Codec – What codec should I be setting my sequence to to “work” in? My workflow will (mainly) involve importing QT files in animation codec, maybe others (even H.264), usually 640×480 square pixels, and then eventually encoding to H.264 or Compressor-ing to Mpeg-2 and DVD. With Media 100 I would (of course) always be working in the M100 codec, and when I was done, I would export a self-contained Lossless Media 100 codec file to keep as my “digital master.” I would like a similar workflow with FCP – the ability to work in a hi-quality codec that I can later export and keep as my “master.” Is that animation codec? This ProRes codec that know noting about (do all FCP users have access to this codec, or only with certain capture cards)? 8 or 10-bit uncompressed?
2. Monitoring – confused as to how I will monitor on my NTSC monitor – need something that resembles my M100 breakout box, I suppose, but which one? Kona/Aja/Decklink??? Doing mainly SD for now, but want ability to at least monitor SOME sort of HD image down the line – whether it be to an external LCD screen (something cost-effective, not necessarily broadcast or big $$$) or something that instantly downconverts so that HD signal would be letterboxed on my SD NTSC monitor.
Am used to balanced/XLR audio going out to my mixer, so that would be nice, too.
I just want it to do what my M100 breakout box always did…but with future HD ability (does NOT have to be broadcast quality, again, if that keeps costs down…)
3. Drives – Been looking at the G-Technology G-Speed ES for ability to do SD now as well as at least a minimal amount of HD in the future. Trying to keep costs reasonable here (ie around $1,000).
Are these tall orders? FCP can do all this stuff, right? Just need some advice on the right peripherals to make this feel as Media 100-familiar to me as possible…(I think thats what I want, but that’s all I’ve ever known!)
Thanks in advance, guys…
Tom
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9 Replies
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Hi Tom,
[tom] “1. Codec – What codec should I be setting my sequence to to “work” in?”
You should set your sequence with the codec that gives you the best RT options. Then once that you have your movie finished, you can just change your sequence setting and render or export with the codec and bit depth of your choice (RGB, YCrCb, 10/8 b, Compressed. Unc..).
You have many option regarding the quality, file size, final distribution format, etc.
You can export a self contained movie or a reference movie (once is rendered) and send those to Compressor, or send (top quality, vey slow) directly from the FC time line. I think FC is really flexible about this,2. Monitoring” AJA, Blackmagic.You don’t need your video card for capturing. To monitor SD you don;t need to pay much money. They also downconvert HD for monitoring.
About drivers I can not tell you much. Have a look because lately have been many posts about in this forum. Before, when the computers where slowers the disk speed was not so important. Now the processors fly and the starage systems need to match the demand.
rafael -
Long time Media 100 user also made the switch to FCP a year ago and haven’t looked back. I recently added the Kona 3 with the K3Box and the AJA IO and it gives me all in the in / outputs Media 100 had plus the added benefits of all the HD flavors.
It all works flawlessly. AJA has the best tech support, which is free– no ridiculous contracts to pay to talk to a human being on the phone. If there is a problem they cross ship another product on their nickel. Something Media 100 would never do.
Plus you get uncompressed 10 bit and all the other flavors.
My 2
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Tom,
I made the switch about 9 months ago and have been delighted with FCP. I don’t know if I can answer your questions specifically, since FC offers so many options. A blessing and a curse, I suppose. The Cow is a fantastic resource that has helped me enormously navigating this change. One thing that made the switch much easier for me was to create a custom keyboard layout that allowed me to replicate the keyboard shortcuts I was used to. In just a month or so I’d say I was just as fast on FC as I was on Media 100.I recently bought a Kona LHe, which I haven’t installed yet. So far I’ve been working in DV, using the deck as my interface. If I want a higher quality codec (for compositing) I simply drop the sequence (or clips) into a new sequence at DV50 codec (4:2:2). Firewire 800 drives have been adequate so far, but like you I’m trying to decide on a sata array. Love to hear back on what you decide on that front.
Good Luck!
Bob -
[tom] “1. Codec – What codec should I be setting my sequence to to “work” in? My workflow will (mainly) involve importing QT files in animation codec, maybe others (even H.264),”
Neither of these codecs are good for editing. you will get very limited realtime and H.264 is a finishing codec, not an editing codec.
8bit and 10bit are the Uncompressed SD codecs. Generally most people work in 8bit as 10bit is not necessary for 95% of their work.
ProRes is a high quality compressed format that is (in some cases) indistinguishable from uncompressed. It’s Apple’s answer to the Avid DnxHD codec (or something like that)
[tom] “2. Monitoring – confused as to how I will monitor on my NTSC monitor – need something that resembles my M100 breakout box, I suppose, but which one?”
If you only need SD, the AJA Io LA is nice as it’s an external box and connects simply via Firewire.
If HD is something you want in the future, you can look at the AJA IoHD or any of the AJA Kona series. The big difference is that the Konas can do uncompressed HD capture / output, while the IoHD is limited to compressed formats for capture.
The Kona series has some variations with the biggest being that the Kona 3 can perform SD to HD Upconvert, HD to SD DownConvert and 720 to 1080 / 1080 to 720 Cross Convert.
[tom] “Am used to balanced/XLR audio going out to my mixer, so that would be nice, too.”
All of the Io’s have balanced, analog XLR. Kona 3 would require an A/D converter as it only has Digital Inputs. You do have analog outputs on it.
[tom] “3. Drives – Been looking at the G-Technology G-Speed ES for ability to do SD now as well as at least a minimal amount of HD in the future. Trying to keep costs reasonable here (ie around $1,000).”
We have a pair of LaCie Biggest S2S SATA drives and they work very well. Our primary suites have two 8TB MaxxDigital SAS/SATA arrays, those are definitely overkill for what you need now.
Welcome to the FCP fold, you will have some growing pains, but in about two or three months you’ll be fully up to speed. I used Media 100 for about 6 years and switched to FCP in 2001.
Walter Biscardi, Jr.
Biscardi Creative Media
HD and SD Production for Broadcast and Independent Productions.STOP STARING AND START GRADING WITH APPLE COLOR The new Color Training DVD now available from the Creative Cow!
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[tom] “This ProRes codec that know noting about (do all FCP users have access to this codec, or only with certain capture cards)? 8 or 10-bit uncompressed?”
ProRes is similar to Media 100 Lossless. Only Final Cut 6 includes it. You can edit the Animation codec directly in FCP, although you will not get any RT effects.
As far as audio monitoring. Some cards/BOB options have analog audio outputs. But most just have digital. Google “Flying Cow” or “Behringer Ultramach Pro”. These are two products that allow you to convert digital audio into analog XLR for your mixer.
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Here’s an article from DV that has good information about configuring a FCP system for HD:
https://www.dv.com/features/features_item.php?articleId=196602702
Bob
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A lot to consider, overwhelming, even.
Guess I have to take it one at a time…most pressing issue is simply trying to accomplish a small project right now – all the source files I have are animation codec QT’s.
When I import into FCP, they do not get transcoded into any other codec (M100 would transcode to M100 codec upon import, of course.)
This is where I’m confused – If I simply drop them into a seq, I get the warning dialog box that settings do not match seq. If I say “Yes, make seq match,” then seq becomes animation codec. Bad.
If I create new sequence with ProRes or Uncompressed as the codec, and drop an animation codec clip into, it is unwatchable, needs to be rendered. I’m sure that is not the workflow, to have to render every clip I bring into the seq (at least I hope its not…LOL) – Do I need to convert all these files to proper editing codec of choice myself BEFORE import into FCP (whereas M100 would just do it upon import…)?
(ALSO – diff between ProRes and ProRes HQ?)
Thanks guys…tons of help already – you’re forewarned that I’m going to be a thorn in your side for weeks to come, of course 😉
Tom
[tom] “1. Codec – What codec should I be setting my sequence to to “work” in? My workflow will (mainly) involve importing QT files in animation codec, maybe others (even H.264),”
Neither of these codecs are good for editing. you will get very limited realtime and H.264 is a finishing codec, not an editing codec.
8bit and 10bit are the Uncompressed SD codecs. Generally most people work in 8bit as 10bit is not necessary for 95% of their work.
ProRes is a high quality compressed format that is (in some cases) indistinguishable from uncompressed. It’s Apple’s answer to the Avid DnxHD codec (or something like that)
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[tom] “1. Codec – What codec should I be setting my sequence to to “work” in?”
We switched to Final Cut from Media 100 5 years ago, and one of the first things that we found to be completely different was the way in which codecs worked.
In media 100 all the clips we imported were transcoded into the Media100 codec, as they imported – whereas in Final Cut they were left alone. For a short while we kept the media100 workflow by making a preset in compressor that would take all our clips and then convert them into the same unified codec. This might be the workflow that suits you – create a compressor preset for something like Prores, that matches the sequence setting you want to use. Then drop all your clips through compressor and work only with the converted files.
[tom] “. Monitoring – confused as to how I will monitor on my NTSC monitor – need something that resembles my M100 breakout box, I suppose, but which one? Kona/Aja/Decklink??? “
I’ll pretty much echo what everyone else says – get an Aja!
-Simmie
1 MacPro – Kona 3
2 G5 – Kona LH
2 G4s – Cinewave
xbox360, Wii, PSP, PS2
https://www.speak.co.uk -
We put our M100 boards in the reservoir about five years ago. Never so glad to watch something sink.
The others have offered good advice. I shall add:
Forget what you know about editing in the M100 proprietary codec. M100’s timeline was always M100 format. Bring in a non-m100 source at it got transcoded before you put it on the timeline. The FCP timeline is whatever format/codec you want it to be and there is no hardware upstream. So anything that is not the same settings as your timeline gets RENDERED, not transcoded. Rendering will make you crazy until you figure out the RealTime Extreme silliness.
If you enjoyed working with a breakout box, get one. Immediately . This will save you many months of frustration, just get one. Which one? No idea, all of our stuff is DV, we just go through our decks.
It’s the paradigm that’s going to pi$$ you off. FCP is really cool but it lacks the maturity, elegant simplicity, and direct access of m100’s interface. Setting destination tracks while editing, setting source tracks while capturing (not digitizing), storyboard editing, seaprting or unlinking tracks in the timeline, getting subclips to behave, recapturing to higher rez… shoot, there’s a really long list of places where FCP’s designers really screwed up and we’ve been screaming about this stuff for years. It ain’t gonna change so get used to it.
Welcome to the family, you will love FCP, you will hate FCP. It is not M100 and never will be.
bogiesan
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