[Ben Holmes]

I’d also point out that Sapphire Edge is available for FCPX as well. I’ve been testing it in Beta, and it boasts similar performance to Looks (ie. good, but not native good yet).

Mojo, always a render hog, plays nearly in real-time in FCPX – which is a real plus!

I like the Looks pop-up window – they’ve worked hard to get this as useful as the FCP7 version.

Got tp love the RED Pledge too – if you own Looks, it will work in FCP7, X, AE, PPro, Avid, etc. etc. – This the future of plug-ins.

So far – testing shows it’s stable and as nice to use as it always was…

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[Ben Holmes]

I have downloaded it and used it. Sorry if that wasn’t clear.

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[Ben Holmes]

I think there are a few people on here who need to rethink their ‘Apple doesn’t care about the pro market’ mantras.

Legacy – solved (via a $9.99 app)
Multicam – solved (and IMPROVED ON – the multiple takes thing is mind-blowing)
Relinking – solved

The enthusiastic adoption of X by plug-in makers shows the advantages for pros when software gets cheaper and more inclusive. Personally, I don’t want to pay $1699 for certain Avid filter sets.

They may have handled the retirement of FCP7 all wrong, but I see nothing but good news for pros in this update – and nothing for the Youtube crowd.

I think it’s time we put a lot of this nonsense to bed, and just allow people to decide which platform they want to edit with, or need to use with their clients and facilities.

This debate should no longer be framed as it has been for nine hysterical months – and make no mistake about it, Apple bears the blame for that as much as users.

Ben

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[Ben Holmes]

You’d be better off just making disk images of your cards using disk utility, and giving them the .img files. They can then import them into FCP as ProRes using the log and transfer tool and the Canon FCP plug-in. All they have to do is open each disk image in turn, then import them as if they had the cards.

Doing a transcode for them causes endless format hassles on a PC, and won’t save them much time unless you have countless hours of footage.

Ben

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[Ben Holmes]

Most of the ‘smart’ deinterlacers do this by using motion detection to retain information that would be common between fields – in this way, they try to keep the vertical resolution up whilst having a progressive look.

The problem is that they can cause atifacting when they get confused, which is often more distracting that a straight de-interlace. Whatever you do to interlaced material, it will not be progressive when you finish (unless the camera shot PsF) – you can’t fake it entirely.

When you talk about ‘interpolation’ you usually mean the opposite of this process – you are creating extra fields or frames from material, such as when you use optical flow, or 4-field interpolation for smoother slo mo. With a de-interlace, you are trying to take away fields, and this is trickier, as the image moves between them – it’s impossible to just double these up to make a single frame without guessing at the motion.

Apart from graphics and small text, de-interlacing holds up much better in HD than it used to in SD material. For this reason, since moving to HD entirely, I bother a lot less now with ‘smart’ deinterlacers.

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[Ben Holmes]

[Dirk DeJonghe] “OK, we are both right then.”

No – not to pick holes, but this is a common misconception – you were wrong in your first statement.

Standard ProRes is 10-bit, exactly like ProResHQ (which just has a higher bitrate, so is less lossy).

It’s misleading within this discussion to bring in the notion that converting an 8-bit source to 10-bits won’t make it 10-bit; of course it won’t. You could say that about any 10-bit codec.

Just making sure there’s no confusion for anyone searching this thread, as I suspect this issue will come up for many ‘switchers’.

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[Ben Holmes]

I have one simple rule when doing this for approval – output as Apple TV using QT conversion in FCP. It’s hellishly quick, produces 720p video at a good file size (around 25-30Mb/minute) and the results look good in Youtube and Vimeo (as well as importing quickly to those services).

You might want to change the file extension afterwards from m4v to mov if you’re sending them to a client. The m4v extension tells a computer to import it to iTunes.

Ben

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[Ben Holmes]

Out of interest, since you’re posting on an FCP forum, why WOULDN’T you want to transcode if you’re working in FCP?

You’d certainly have more options for manipulating the video (as you’ve just found out).

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[Ben Holmes]

I don’t use Lion on my main systems, but have it on a laptop and there are no issues with FCP7 – and I’ve seen none others reported, so I wouldn’t worry to be honest. I’ve noticed new drivers for some cards (I have Kona, BM AND Matrox video devices) are Lion specific, so to be honest, it may be safer to move over sooner or later. It’s definitely a good time to up your RAM!

Ben

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[Ben Holmes]

Why didn’t you just set the screen to turn off after five minutes in the energy saver settings?

Bit complicated?

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