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Activity Forums Apple Final Cut Pro Legacy which codec is better? 10-bit full-raster codec-Apple ProRes 422HQ or Panasonic AVC Intra 100?

  • which codec is better? 10-bit full-raster codec-Apple ProRes 422HQ or Panasonic AVC Intra 100?

    Posted by P2 Shooter on April 15, 2010 at 7:51 pm

    Hi there,

    Can I get someone to weigh in on which codec is better? 10-bit full-raster Apple ProRes 422HQ or Panasonic AVC Intra 100?

    I guess its a whole workflow question though too.

    SHooting on the HPX3700 and could either shoot AVC Intra 100 to P2 cards or get a AJA ki pro and record to its 10-bit full-raster ProRes 422HQ.

    I would rather just shoot to the P2 cards for many reasons but what sequence settings would I want to use to optomise the AVC Intra 100 footage? Would I be wanting to edit in Pro Res HQ anyway and going through the hassle of transcoding everything to ProRes HQ after already rewrapping the avc intra100 into a QT wrapper for FCP? How many copies of this stuff am I supposed to have? Even if I delete one of these redundant versions of each file where is my time savings of the tapeless workflow if I’m rewrapping via log and transfer and transcoding via compressor??

    I’ve recently heard of MXF4mac but still wonder what sequence setting I should be using if I’m starting with ACV Intra 100 and wanting to edit the best available content.

    Thanks!

    P2 Shooter replied 16 years ago 2 Members · 6 Replies
  • 6 Replies
  • Jeremy Garchow

    April 15, 2010 at 8:09 pm

    [P2 Shooter] “I’ve recently heard of MXF4mac but still wonder what sequence setting I should be using if I’m starting with ACV Intra 100 and wanting to edit the best available content. “

    FCP has an AVC-I decoder, but no encoder which means that you will have to edit in a ProRes timeline.

    With the log and transfer method you can rewrap to AVC-I, or you can choose to encode to any flavor of ProRes or even DVCPro HD. The rewrap process is pretty fast, but the transcode process can take a while.

    We usually shoot to P2 cards in AVC 100, and edit using MXF4mac (which then means we are using the dreict MXF files and not rewrapping), then you edit in a ProResHQ timeline. We also have a KiPro that we use if the shoot allows (studio work).

    Both codecs are great (10bit, full raster), ProRes is a little LESS compressed and has a higher data rate than AVC-I 100.

    I cannot recommend MXF4mac highly enough. It has saved us time, money and disk space, and also helps tremendously with organization due to the metadata editing in P2 Flow.

    MXF4mac also has an AVC-I encoder if you want to stay in AVC-I, but renders are really slow compared to ProRes.

    I’d recommend, shoot P2 if you need to, use MXF4mac, edit in a ProRes timeline. the KiPro is totally awesome as well, but for us, it can’t always be used.

    Jeremy

  • P2 Shooter

    April 15, 2010 at 8:24 pm

    Thanks Jeremy

    So Should I use the MXF4mac – MXF Import QT (https://mxf4mac.com/mxf-import) or MXF4mac – P2Flow (https://mxf4mac.com/index.php/p2-flow.html) or both?

    So I assuming I use one or both of the above with FCP, I should set up a FCP project and sequence timeline as ProRes422 HQ and then use MXF4mac to import the AVC Intra 100 1080 24p footage? I won’t need to transcode or make new copies of the media? It would have to render on the timeline?

    If I wanted to bring in DVCProHD 108024p(over 60i) footage shot with a HPX500 P2 camera I’d have to use compressor or something to transcode that material to ProResHQ? or would MXF4mac help with that too?

    Thanks!!!!!!

  • P2 Shooter

    April 15, 2010 at 8:25 pm

    opps sorry I meant in my previous post that with those settings described it “would not” need to render?

    thanks

  • Jeremy Garchow

    April 15, 2010 at 9:13 pm

    [P2 Shooter] “So Should I use the MXF4mac – MXF Import QT (https://mxf4mac.com/mxf-import) or MXF4mac – P2Flow (https://mxf4mac.com/index.php/p2-flow.html) or both? “

    P2 Flow is a comprehensive metadata editor. you can name the clips very fast and easy (changing the User Clip Name to something way more useful than 0001XP or whatever) then you fire all that material over to FCP as AVC-I clips with all metadata in tact. I would recommend P2 Flow as well, but see if you will like it by trying out the demo.

    [P2 Shooter] “So I assuming I use one or both of the above with FCP, I should set up a FCP project and sequence timeline as ProRes422 HQ “

    When you drag an AVC-I clip to an empty timeline, FCP will automagically create a ProResHQ sequence.

    [P2 Shooter] “I won’t need to transcode or make new copies of the media?”

    No. It’s wonderful.

    [P2 Shooter] “It would have to render on the timeline?”

    Yes, as ProRes HQ, but the render times are negligible and you only render what you need instead of transcoding every frame first.

    [P2 Shooter] “If I wanted to bring in DVCProHD 108024p(over 60i) footage shot with a HPX500 P2 camera I’d have to use compressor or something to transcode that material to ProResHQ? or would MXF4mac help with that too? “

    If you use MXF4mac for DVCPro HD material, it will bring over the material untouched, as DVCPro HD. you can then edit in a DVCPro HD timeline or a ProRes timeline.

    Here is a down and dirty movie I just made showing you just one thing P2 Flow can do. It’s very flexible and has a lot of features.

    You will notice I have both DVCPro HD and AVC-I 100 clips in this transfer.

    Jeremy

  • Jeremy Garchow

    April 15, 2010 at 10:34 pm

    I should add that becuase of the MXF Import function, those native P2 MXF clips go right in to FCP from P2 Flow.

  • P2 Shooter

    April 15, 2010 at 10:54 pm

    WOW!!!

    Thanks!!!

    where do I send you a check for teaching me that???!?!?!

    Thanks

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