working with AVC Intra in FCP7

[Jeremy Garchow]

Editing with MXF is the exact same as editing with the native format. If you can composite with DVCPro HD, you will be able to with media brought in with MXF4mac. There’s no transcoding, no reprocessing.

With AVC-I, it will be the same. Don’t use the proxies, edit with the native AVC-I in whatever timeline you want ( you could use ProRes proxy for a timeline codec to keep render times down) then simply switch the codec to ProRes HQ for final render/compositing. No need to edit with the proxy, no need to log and transfer because of MXF4mac. Easy.

[Greg Nosaty]

I want to try proxies so that I begin editing on my laptop while I\’m on the road shooting. I\’m directing a doc series the uses green screen interviews. I can\’t send rough cuts to my broadcaster without have temp backgrounds in place.

My normal workflow is to work in DVCPro 720p and do rough comps in FCP using the Keylight plugin. It does an amazing job with almost no effort. Once the shows are locked we export all the elements to After Effects to have better control over the final comps with Keylight.

cheers,
Greg Nosaty

Cinemontage Productions Inc

[Shaun Gish]

I’m a bit confused about the use of ProRes(HQ)… a few weeks ago I made a post about a project that I’m working on that was shot AVCI100 and I specifically asked if there was any benefit to working with ProRes(HQ) vs. normal ProRes – I was told that I would gain nothing by going standard ProRes…

But everyone that’s been posting lately is saying that ProRes(HQ) is the way to go instead of standard ProRes… so… now that I’m close to being finished with my 2 hour, 10 camera, multiclip production that is all in ProRes should I have gone the other route?

[Jeremy Garchow]

[Shaun Gish] “should I have gone the other route?”

You’re totally fine.

If you’re worried about it, you can always media mange your final collapsed timeline and bring just what you need to ProResHQ.

Jeremy

[Jeremy Garchow]

[Greg Nosaty] “I want to try proxies so that I begin editing on my laptop while I\’m on the road shooting.”

We do this all the time with ProRes files and AVC-I, now with native AVC-I ingest, this is even easier. Add MXF4mac on top of that, and you won’t need to edit proxies. AVC-I is a pretty light weight codec and can be edited on an intel laptop, no problems.

[Greg Nosaty] “My normal workflow is to work in DVCPro 720p and do rough comps in FCP using the Keylight plugin. It does an amazing job with almost no effort. Once the shows are locked we export all the elements to After Effects to have better control over the final comps with Keylight. “

But now you’re moving to AVC-I? You will be happy with the results.

Jeremy

[Lars Storheim]

Hi

You said:
“Don’t use the proxies, edit with the native AVC-I in whatever timeline you want ( you could use ProRes proxy for a timeline codec to keep render times down)”

What exactly is a “timeline codec”? (the basic explanation)

Does it mean that FCP has to render the AVC-I material to preview files (ProRes proxy) with a different codec on the fly?

I’m just a bit confused 🙂

Lars

[Jeremy Garchow]

In FCP7, avc-I is a decoder only. If you add an avc-I clip to a timeline, fcp will make a prores hq timeline. What I mean by timeline codec is that it’s the codec that the timeline is set and therefore what your footage gets rendered to.

Make sense?

Jeremy