Thank you Apple – and don’t change course. Please

[John Heagy]

[Michael Gissing] “John, it is worth playing with DNxHD.”

We have and found if far harder to encode. This is why Arri didn’t offer 120fps initially in DNxHDx on the Alexa.

We get 10bit quality at 140Mb with ProRes(SQ) but would need to go up to DNxHDx 220 for 10bit.

It’s cross platform but mainly via Avid’s QT codec so were back to relying on the QT 32bit API.

The fact that DNxHD is an open standard is appealing, but encode and storage efficiencies for the same quality go to ProRes.

It’s not that we can’t use DNxHD, tho I think that’s essentially the case in FCPX, we really don’t want to.

What I’d really like is ProRes.mxf which Avid conjured up but that’s under lock and key unless Apple embraces it.

I see ProRes and FCPX being linked so that’s another reason I’d like to see FCPX flourish.

[Oliver Peters]

[John Heagy] “What I’d really like is ProRes.mxf which Avid conjured up but that’s under lock and key unless Apple embraces it.”

It’s not exactly “conjured”. This exists because Avid licensed it from Apple. MXF is Avid’s native wrapper format, so you can either directly use AMA-linked ProRes QT files or transcode to MXF. In the case of the latter, the file is merely rewrapped and the codec is maintained as native ProRes without any conversion. The limitation Apple has placed on Avid with this is that Windows machines cannot encode back to ProRes.

– Oliver

Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com

[Chris Harlan]

[TImothy Auld] ” was going to suggest that he put his Sandra Day O’Connor quote at the beginning and end of all paragraphs in his posts but I’m not sure it would do any good.
“

I don’t know. It does seem to promote ideals that are incompatible with his discussion style. Maybe its just because they are both from Arizona. If so, maybe Goldwater’s “Extremism in the defense of liberty is no vice” would be a better fit.

[Steve Connor]

Would it be libellous to suggest that Bill is in fact in the employ of Ron and the COW in order to boost traffic on this site?

It might explain a lot 🙂

Steve Connor
“FCPX Professional”
Adrenalin Television

[Chris Harlan]

[Steve Connor] “Would it be libellous to suggest that Bill is in fact in the employ of Ron and the COW in order to boost traffic on this site?

It might explain a lot 🙂
“

I suppose there is that.

[Tim Wilson]

[Steve Connor] “Would it be libellous to suggest”

We’re still talking about it. I’ll let you know.

Or, more accurately, our lawyers will let you know.

Of course, we have also been talking about sending Apple one of those fruit bouquet thingies. Seems like the least we can do.

Tim Wilson
Associate Publisher, Editor-in-Chief
Creative COW Magazine
Twitter: timdoubleyou

[Steve Connor]

[Tim Wilson] “We’re still talking about it. I’ll let you know.

Or, more accurately, our lawyers will let you know.
“

Thanks Tim, if they DO think it’s libellous then i won’t suggest it.

Steve Connor
“FCPX Professional”
Adrenalin Television

[Richard Herd]

So what is your technique for adjusting, as you describe. I guess my real question is, do you use 2 Compound Clips?

[Oliver Peters]

[Richard Herd] “So what is your technique for adjusting, as you describe. I guess my real question is, do you use 2 Compound Clips?”

Were you asking me? I wasn’t sure. I avoid compound clips as a standard way of editing. Already burned me and it causes project bloat.

– Oliver

Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com

[Jeremy Garchow]

[Richard Herd] “So what is your technique for adjusting, as you describe. I guess my real question is, do you use 2 Compound Clips?”

I take the clips out of the primary (option-command-up), swap them, then put back in primary (option-command-down).

This leaves the connected clips where they are, and timing of primary stays the same.

It’s not elegant, and it takes some steps, but you aren’t dicking around with the timing of the connected clips to the primary, and compounding the uncompoundable, and the magnetic timeline simply adjusts when you are swapping the clips.

I really don’t mind some of the magnetic timeline, but sometimes the connections work against you. They need some sort of lock button or disconnect or some other Appleism.