Bret Williams
Forum Replies Created
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I’m confused by you and Oliver’s response. Except for the last example, the problem is that the ProRes outputs distinctly look worse/banded in QT player compared to the h264 source file in X. (One would think that 422 would at least retain the h264 quality). BUT the odd thing being that if he reimports that ProRes output back into X the banding disappears within the X viewer. Which, logically means that the QT player’s playback engine is not the same as X. Probably only 8 bit or something. So why the title of the post isn’t “QT player playback quality – is it shocking?” I don’t know. But it’s not surprising that a playback app isn’t as demonstrative of color and resolution and a Pro video editor. What I don’t see is a comparison of the h264 source in QT player vs. the ProRes in QT player. Not terribly scientific.
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I had to do a music video in X where they were lipping to playback of the song. That audio was captured quite clearly by camera mics but X refused to sync any of those shots to the actual recording. My guess would be that there were minute, imperceptible differences in playback speed from the device on set vs the actual recording.
What I will do next time… Record the entire song with a camera mic, very cleanly almost like room tone. Use THAT as my audio master song and sync all the shots to it. THEN, manually sync/replace that audio with the real song as a final step.
Maybe something along those lines helps your situation.
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You wouldn’t see anything missing if the original is available. That’s why it’s called optimized/original playback.
Proxy playback would show missing file because it’s not called Proxy/Original playback, just proxy.
There is no real indicator other than right clicking on a clip to transcode it, and seeing that the option is greyed out.
Like noah says, it just works. If it’s greyed out, then it knows it exists, and it uses it if you have chosen optimized/original playback.
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I would keep snapshot in there because it is a very special designation. It’s not just a duplicate. All compound clips have been referenced to new parent compounds so that altering them won’t alter any other project anywhere. So I leave snapshot in the title for this reason if no other because there is no indication otherwise.
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Even if I put final in the name I always keep the version number like v5 FINAL. Then if you find a couple FINALs you just go with the newest number.
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FCP X can call them projects, but I refuse to.
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[Dave LaRonde] “Or if you insist on using five-year-old software”
7 year old software. 2009.
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I like that. And make sure the projects smart collection omits snapshots. So every time you do a snapshot, it just kinda disappears into the snapshot collection. Gonna steal that.
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I have two events. One called Media, and one called sequences. In the sequences event I have all my projects and snapshots. When I generate a compound, they end up here, but I usually drag them over to the media event eventually to clean things up.
In the media event I have lots of keyword collections, often separated into folders like Camera Originals(folder)>Cam A, Cam B (keyword collections).
Not very different than the way I sorted things in legacy really, except that as an analogy to a bin vs. keyword collection, they’re just better because my media can exist in multiple places/keyword collections at once.
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Time to drop the mic and walk off the stage. Well done Mr. Geisel! Classic.