[Ben Scott]

from what I have read from the prores paper it is really clear

IT IS FOR HD

not sd

maybe take a look at the details at this white paper it is on the apple site at bottom of additional resources

I am interested the difference between uncompressed 1080 HD 10 bit 4.2.2 compared to prores 422 hq

I think it has been mentioned in nearly every article I have ever read that prores is hd, why is no one just responding to this post with this answer straight?

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[Ben Scott]

I had to do the same thing myself as the guy I was working with insisted on reediting, then reauthoring

remember that dvd studio if linked up to your chapter markers (e.g. from a scene selection menu) cannot recognise the new chapter markers once you bring in a new asset, it is set to the first chpt markers and the I frame they exist on. I had to keep relinking over 50 links in dvd studio around 5 or more times because of this and it is really poor but totally makes sense. dvd studio isnt reading xml it is reading i frames which have to be set up before hand if encoding in compressor

my best method to move chapter markers is move playhead in front of marker ask it to reposition marker which is shift `

if moving markers back in time you need to edit marker and type in the timecode you are moving to (this is best got from going to the correct frame and copy pasting the timecode)

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[Ben Scott]

maybe take a quick look at the clips and the filters applied

if you send from Color for instance from dv pal (lower field) and then back to final cut in uncompressed i found it applying the shift fields filter and making sequence upper field like it should be in uncompressed setup

found some clips went wonky and then removed the shift fields filter and seemed to work

probably not so much of an issue as you are deinterlacing although how are you doing this, in final cut, I wouldnt, if you need progressive do that in compressor

[Ben Scott]

have you tried what I am suggesting?

it is much quicker and what I really recommend

I have had too many problems sending straight from final cut pro

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[Ben Scott]

think it is bad advice saying just come out straight from final cut pro to compressor (you are right about no improvement to quality it is just the sequence as is rendered in final cut pro) however I think it very very important to say that compressor will work a lot faster when it is reading from any type of quicktime reference movie instead of when it is coming out of final cut pro and tying up final cut pro in the process.

good tip if using the reference movie (e.g. not self contained) quicktime movie (not quicktime conversion bad bad) is to maybe make a duplicate of project if you plan to make changes as renders on reference movies can get screwed with new renders from same sequence and project. it is also worth noting that the renders should work faster of a reference movie as it references multiple files and so could potentially be rendered with more cores from qmaster setup (not sure but it makes sense).

also last tip for speeding up renders, always render to a different harddrive than that which has the original capture scratch and media files, this should really improve renders as it reads off one drive and then writes to another

to get the clip to come out 4.3 select clip with mpeg preset, then double click preset and then in inspector go to second tab, then in video format go down to the aspect ratio box and click the wheel to get the drop down on aspect ratio to work, then change to the format you need. this probably wouldnt come up if you sent straight from final cut pro but then you may be waiting a lot longer and this takes 2 seconds and should be checked. To test it is reading 4.3 click the preview window whilst clip in compressor selected and then check it is looking ok

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[Ben Scott]

I have a western digital my book amongst other drives

they are cheap and data seems ok on them

however I would warn you away from them if doing serious editing as they are very bad with the firewire bus and take over and unmount other drives (total nightmare)

if you only need one drive mounted at a time then they are fine, probably ok for quick cheap backups, amazon has cheap deals on them

the western digital raid edition SATA drives are another ball game though and from the supplier of my sata seritek raid box in London they have tested and say they prefer western digital RAID edition. These get good reviews on the barefeats site

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or my site at
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[Ben Scott]

probably easiest way is drag into the not a dv codec based sequence and let it take care of. edit the dv footage first (if needed for speed) in another dv seq first and then copy clips across. open format timeline will deinterlace ok for you

or if quality is key and time not important try compressor and reimport (not so important)

[Ben Scott]

I use snapzpro for the podcasts I do

I set to same size as capture photojpeg and then edit that in final cut and wait a long time. suppose prores for HD pixel size files might help but havent tried, also this could possibly give more realtime. snapzpro encodes at the end of your screen capture session so codec is whatever is supported in quicktime pro.

I make a custom easy setup for this codec and the size i wish to output

i then zoom the large video into details from the screen. dont bother with snapz pro zoom it is irritating to watch

also dont use the dv codec for any animation sequences like this, it just wont work trust me. keep the sequences you are working in deinterlaced and uncompressed if possible. photojpeg can save a little on file sizes and doesnt compress flat colour nearly as bad as dv

if you are playing out to tape find a way to output uncompressed hd if you need detail or sd if your going the zoom route

dont expect any realtime whatsoever

if going to flash look into episode encoder, or use the h264 compressor preset with VBR best settings and suitable data rate for your output medium

oh and I would suggest trying mousepose and backdrop softwares along with a separate audio recording done beforehand which is playing while you are demonstrating, use a good mic and sound card.

all i can say is it aint easy to get it to look ok and it needs quite a bit of tests and spare Hard drive space

– – – – – – – – –
Check my podcast at https://cowcast.creativecow.net/final_cut_pro/index.html
or my site at
https://www.benscottarts.co.uk/ – – – – – – – – –

[Ben Scott]

if its hdv keep sequence in the native format and make sure render in prores in sequence settings is set up

i would then use compressor to take your final edit and effects and get it change to prores at the settings you desire

then put in the right sequence and output using an prores HD capable card

will take ages but maintain quality

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Check my podcast at https://cowcast.creativecow.net/final_cut_pro/index.html
or my site at
https://www.benscottarts.co.uk/ – – – – – – – – –

[Ben Scott]

you can select more than one clip send to motion and it will send those clips only

otherwise no batch, although if you have turned on the optical flow retiming from timing in motion then it should be analysing the slomo of all clips in the background (a kind of batch once you have sent them and set the setting)

to turn on you must go properties for selected clip, then timing, then frame blending, set to optical flow. it should take all keyframes etc for speed from final cut pro.

watch the wheel spin to left of controls

once done save project files in motion, return to final cut and save

simple really

and very very good quality, just takes a long time, maybe leave overnight

Note: I posted this a week ago on a similar post. maybe check previous posts before covering same ground.

p,s, the thing you can batch to go in the background is analysis of master clips in final cut for smoothcam (motion stabilisation)