Andrew Kimery
Forum Replies Created
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Even in 2012 if I need to plow a field and have the choice between a horse and a car I think the horse will win.
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[Adam Ridley] “Interesting, I never would have thought to transcode the original H.264 files to use as a master because I’d be worried about any amount of degradation (no matter how small) but if that seems to be the consensus then it would make sense to create one large master file of the 5D shots to group with the C300. “
To steal a line from another COW user, if the production was really that concerned about possible image degradation they wouldn’t be shooting to H.264 in the first place. 😉
[Adam Ridley] “I’ve read that there is barely a difference between ProRes and ProRes HQ but I’d imagine one would want to use HQ if you were creating a new master. Especially if the ultimate goal is a theatrical release.”
The rule of thumb I’ve seen some people toss around is use Pro Res HQ if you’ll be doing a lot of heavy FX work and compositing (something where you must get the most out of every, single pixel) and use regular Pro Res if that’s not the case. -
3 camera is no sweat for FCP (I used to do it all the time). The storage does need to be fast enough though.
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[Adam Ridley] “Just one question on exporting the 5D as an online: Is ProRes 422 sufficient for a “master”? It was my understanding that I’d work in the Proxy codec and then reconnect to the H.264 files when it came time for finishing. Thanks!”
You don’t want to finish with H.264 files. Transcode H.264 into ProRes or ProRes HQ in the beginning and that becomes your new master media. You can transcode that into ProRes Proxy if you need to and then go back to the ProRes or ProRes HQ file for finishing but you should never plan on going back to H.264.
Keep in mind that to use multicam in FCP 7 the footage from the two cameras have to be the same codec, frame rate and frame size.
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Download and run the AJA or Blackmagic speed utility on your external drive and see what speeds you are getting. You didn’t give much detail about files you are editing (raster size, frame rate, etc.,) but obviously the speed of your drive needs to be higher than the data rate of the combined streams of ProRes HQ you are trying to use.
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Sorry to hear that Greg, but as Mark said there are certainly opportunities outside of LaLa Land (now more than ever).
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Still lots of tape action in my neck of the woods. Certainly for delivery and a surprising amount of DVCPro HD used for acquisition. I guess if you already bought the gear you might as well use it until it’s no longer useful.
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Here is the link in to the article.
https://broadcastengineering.com/cameras-amp-lenses/shooting-quad-hd-hd-projects?page=1I’m not sure why you tried to represent this as a FCPX-centric piece Bill when the article is really about the usefulness of reframing and FCPX, to me, just gets mentioned as an aside.
From the article:
“It’s also possible to edit Quad HD using Final Cut Pro and Media Composer (OS X and Windows).
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The advantages of shooting Quad HD are available whether one shoots with a low-cost ENG-style camera or a far more expensive cinema-style camera. The difference is one of image quality, not post production.”
Emphasis mine. -
[Bill Davis] “At the design stage, EVER narrowing is an elimination. How can you assess whether your core list of “needs” is proper if you’re starting out with the very group for whom “core needs” are the MOST rigidly pre-defined?”
If you are making a product, any product, that’s primarily geared towards consumers or infrequent users you should study that demographic. If you are making a product that’s primarily geared towards an established/frequent user base with established goals you should study that user base. The core needs for both will not be the same.
IMO step one to offering something new to someone is to completely understand each step of their existing process. If you don’t examine and totally understand why things are the way they are before changing things you are being disruptive just for the sake of being disruptive. I’ve built, modified, and in some cases, totally blown up workflows at a number of companies/shows over the years but my first step is always to embrace the existing workflow and understand why and how it works for them. Sometimes what looks useless at the onset is actually pivotal once you understand how the whole process works in concert.
[Bill Davis] “How can you expect to find insight when you only talk to people who have been largely doing the same things in the same way for 50 years?”
So post production workflows and tools in 2012 are pretty much the same as they were in the ’60s?
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[Bill Davis] “Using that data, I’d figure out what the largest potential market would be in the future where I could satisfy the greatest number of potential customers.”
So you’d build an NLE geared for easy adaption by consumers? 😉