Chris Poisson
Forum Replies Created
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Dan,
ProRes works fine on my old G5 just like yours. So I suspect you are narrowing down you problem to your FCP version. Get FCP 2, it’s great.
Regarding ProRes advantages, there are many, but my favorites are that you have bona fide 29.97 footage with no GOP/HDV conforming, better keying, much better handling of transitions and effects, better compositing, yadda yadda.
Have a wonderful day.
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Dan,
Before you start blaming other software, read the A1 manual very carefully. You will see that it’s Playback Standard must be set to HDV, it defaults to Auto. Also, turn on the camera and have it plugged in via FW BEFORE you launch FCP.
If your software is a problem at that point, upgrade. I work with ProRes captures via FW on a MacBook Pro with a 2 drawer RAID every day, and never have problems.
Have a wonderful day.
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Tyler,
Assuming your sequence is DV, you should connect the camera and turn it on BEFORE you launch FCP. It has to initialize the device.
Sounds like it is behaving the way an 8bit or other sequence would behave on a FW device, it must be DV. BTW, you don’t have to use print to video, you can just record it from the timeline.
Have a wonderful day.
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Redzinald,
Calibrating is not that hard, this PDF includes instructions for calibrating monitors which don’t have a blue-only mode, I’ve been using this for years with both types of monitors and have never had a problem.
https://www.synthetic-ap.com/tips/calibrate.pdf
Have a wonderful day.
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Randy,
No ill will intended by any means. Just trying to clear up confusion.
Have a wonderful day.
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You ABSOLUTELY DO NOT need and Intel Mac to capture ProRes, that’s a myth. It is a RAM intensive process, but G5’s do it just fine, see my tutorial, done on a G5 dual 2 Gig with 4.5 gigs RAM.
https://library.creativecow.net/articles/poisson_chris/hdv-prores.php
Have a wonderful day.
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Hi Anne,
Most of the time I do capture right to ProRes, in fact, all 5 hours of other tapes for this project were captured to ProRes, and edited in an anamorphic DV sequence. The main advantage doing this is the scaling you can do with the footage, or pan and scan, buttery smooth “camera” moves.
But, the reason I’m downconverting right now is that this segment is for time lapse, and will not need to be resized, so I’m just saving disk space.
Regarding the tape, the camera doesn’t know the difference, HDV tape is just like insurance, DV tapes work just fine.
Have a wonderful day.
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Anne,
As I type, I am capturing a 1 hour DV tape shot in HDV on a Canon A1 just this morning. I shot at 30f, and I am capturing to DV anamorphic. As the guys above said, if you can shoot HDV, do it. The downconvert in the A1 is just great, but you’ll have the HD material should you need it in the future, in which case you can capture to ProRes.
Have a wonderful day.
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A very good question. With Sony, you get full compatibility through cameras and decks. Canon, and I believe JVC too, don’t make and will never make decks, so with their proprietary formats/frame rate schemes, you are stuck using their cameras to capture, UNLESS, you shoot in a straight 60i format, in which case (knock on wood) you can capture through a Sony deck.
Does this make Sony the “best?” Well, at compatibility, maybe, but you still should choose the rig that fits your work and tastes.
Have a wonderful day.
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I use Shine quite often, but never in FCP. It renders quite well in After Effects RGB, and comes into FCP just fine. Never had a compoaint.
Have a wonderful day.