[Andrew Karczewski]

I have a feeling that while FCP X will allow people to use various codecs and resolutions in the same sequence, very quickly you will see the gurus – Walter Biscardi, Shane Ross etc still recommending that in mixed format situations – particularly those involving H.264 and HDV as source material – that users still transcode to ProRes…

…Unless apple decided to start handing out 6.0Ghz, 18 core mac pros with built in 10 Terabyte SSD RAIDs, and 64 GB of RAM as standard configurations…ahhhhh, sounds like a Christopher Nolan film!

[Andrew Karczewski]

Slightly disappointing on Apple’s part – given all the “stay tuned for more information” comments. It looks as though it will just get released, pages on Apple’s site will get updated with less than detailed information, and then we’ll all be on here dissecting FCP X.

( No, i’m not hating on Apple…just an observation )

[Andrew Karczewski]

I agree with steve. Also, don’t be tempted to convert your footage to “ProRes HQ” – given your source/original footage format, you will not gain anything in quality.

Converting all your footage to ProRes (1920 x 1080) will give you a nice full raster, 10 bit, I-Frame only codec to work with…Far easier and cleaner to work with.

Andrew Karczewski.

[Andrew Karczewski]

Thanks Walter,

Overall i’ve had the impression (over the years and for numerous other circumstances) that i’ve got is that AJA are the pick of the bunch.

This only confirms it, particularly given what Shane Ross said on a different thread about Blackmagic only doing Up/Down/cross via Software…I was fairly shocked by that!

For the moment however, i will go with MX02 LE for the Blue only mode that will allow me to “grade” via HDMI monitor and MAX technology.

In a couple of months however…i will also be the owner of a AJA Kona LHi…which may by then be compatible with Davinci Resolve on OSX.

Andrew.

[Andrew Karczewski]

Thanks, Gary!

[Andrew Karczewski]

Hopefully, Walter and Gary don’t kill me with their comments

[Andrew Karczewski]

great, thanks for the help with HDV, already ingested an entre project that way today…all smooth sailing.

Also for XDCAM HD, unfortunately i’m in the uneasy situation where i am a struggling film student, with none of my own editing equipment, and i am sneakily editing my own, non uni, projects late at night without the watchful-hawk-eyed tech staff shutting down my racket…

To than extent all i have in the way of hardware is the machine that reads the xdcam discs, allowing me to log and transfer files to a scratch drive of my choice, any conversion i do from 50i to 25p will have to be software based, so what is your best advice in choosing between compressor and batch exporting from final cut to ProRes?

[Andrew Karczewski]

Hi Walter,

Thanks for the reply. yep, I’ve had a look through the ProRes posts, i haven’t seen much clarity over whether it would be better to use the HDV-Prores capture codec over editing an entire project in HDV, then coverting to prores.

as for the XDCAM HD question, any ideas on the best way to covert 50i to 25p and into prores in one swift process?