Thanks and ACV-Intra on MBP

[Jeremy Garchow]

When offloading P2, the file structure is exactly the same in DVCPro HD or AVC-I, the only difference is the video codec. Shotput Pro will work just fine.

If they want the p2 data files, just hand them the offloaded files from ShotPut Pro.

If they need Quicktime, you will need to transcode them using FCPs log and transfer, but it takes a lot longer than DVCPro HD as FCP has to transcode the files to ProRes or HQ in the process. As of right now, the only way to get a 10bit decode is via log and transfer. Nothing else that I know of will keep the 10bit information. It is possible to edit ProRes on a fast enough laptop, but if you want to transcode, I’d suggest doing it on a MacPro.

We view a lot of footage in the field as my article on why we chose the HPX2000 and AVC-I suggests. It is entirely doable, but depending on how much footage you have and if they want the files already transcoded, you might not have enough time at the end of the day give them a fully transcoded file set. Hope that makes sense.

What I would encourage you to do is send feedback to Apple and them implement a native AVC-I workflow. This would solve a lot of transcoding headaches and allow real time native 10bit editing right from the MXF files complete with metadata as long as you have the right tools and plugins to do so.

https://www.apple.com/feedback/finalcutpro.html

Jeremy

[Billy Morocco]

Jeremy,

Thanks for this, and for your article, which saved a lot of prelim. questions. I’m guessing they’ll want the Raw MXF files, as I think this is B-roll, or pick-ups for a larger project.

I am completely new to the ProRes workflows. but I have some RED footage, and a couple AVC-Intra files that I intend to practice with this weekend.

It is possible to edit ProRes on a fast enough laptop, but if you want to transcode, I’d suggest doing it on a MacPro.

This confuses me a bit. You mean that the Transcoding would be faster on a MacPro. But once it is transcoded, – doesn’t the Pro Res allow for editing on a laptop? I don’t think I will be editing. This is just to clarify. Embarrassing query: Is this an example of offlining, or is it simply transcoding?

Also, what Easy Set-up would I use? I have the codec, and can watch the footage, MOS, in Quicktime, but the sample AVC INtra files are not showing in L&T (Wait, they’re there. Just took a while). But I left my Easy Set-up FORMAT to “ALL FORMATS”.

Well, thanks again. I am trying to get my head around this process. I can’t wait to be as helpful as you all to someone newer than myself.

Bill

[Jeremy Garchow]

[Billy Morocco] “This confuses me a bit. You mean that the Transcoding would be faster on a MacPro. But once it is transcoded, – doesn’t the Pro Res allow for editing on a laptop? “

Yes, it does. You can edit ProRes on a laptop as long as your drives are fast enough.

[Billy Morocco] “Is this an example of offlining, or is it simply transcoding? “

No, it’s not offlining.

[Billy Morocco] “Also, what Easy Set-up would I use?”

Whichever frame rate and frame size matches the footage.[Billy Morocco] “But I left my Easy Set-up FORMAT to “ALL FORMATS”.
“

What format is the footage? 720p? 1080i? Sd?

[Billy Morocco]

Jeremy,

Thanks for following up. That job didn’t pan out, so it was one night of cramming on AVC, and I consider it well worth it.
I am going to work on editing some RED footage this weekend, so I’m glad to be able to use offlining in a sentence and feel more confident about it.
Perhaps this is a more common problem to those on this forum: On three (low-end) shoots, now, I’ve been the only person interested in what happens once you remove the battery from the camera.

Anyway, I’m indebted to this forum.

To clarify my last question: I was concerned that FCP would not “find” the CONTENTS folder unless I had properly made an EASY SETUP. The RED _ FCP Whitepaper, for example, suggests making a RED Easy Setup ahead of time. So I was asking what Easy Set-up I would use if I know I am going to import a not-directly-native-supported codec.

thanks again,

Bill