[Dan Riley]

I didn’t know it was more likely a Quicktime limitation.
But it now makes more sense that AVID would have come up with
and stuck with their own media file types. It seems like Apple
may just be waiting for storage to keep going down in price
so editing your offline at uncompressed wouldn’t be as big a deal.
And it certainly is going that way. However now we have HD
to contend with. It will probably be a while before I could afford
to purchase enough drives to load in all 30 hours of HD uncompressed
footage for an offline.

Thanks Rich for the interesting history and perspective.
Dan

[Dan Riley]

I use the below link as my resource for my uprez sessions.
https://www.kenstone.net/fcp_homepage/basic_onlining_jordan.html

It just worked fine on my FCP5.0.2 session last week,
but I didn’t get all my still frames….some but not all.
It’s very stange. There must be some kind of order
FCP wants you to do so that it finds and recaptures
the still frames. My last session with FCP4.5 it got
all of them, but the one before it didn’t.
It’s such a pain to then have to go find those shots
and still frame them again and drop them into the
proper places in the timeline. Stuff like this causes it
to take much longer to uprez that it should.

Walter is right; FCP is a very fine editor as long as you
stick with your original codec. But if you are like me
and you have to input around 30 hours of footage
per half hour infomercial, that takes up way too much
space at 10 bit uncompressed, thus the uprez approach.
I start with DV and this looks good for the client and
only takes up about 1/6 the space.

Dan

[Dan Riley]

The manual doesn’t do anything about all the ridiculous
errors with FCP and uprezing. It’s a real problem.
Still frames sometimes follow…sometimes not.
Speed changes….never.
I have to hold my breath everytime I’m coming in
the next day to do an uprez from an offline project in FCP.
IT HAS NEVER BEEN FLAWLESS…..EVER.
Which is a real joke if you ask me.
The only thing that is changing is the codec.
What is the big deal here.
If AVID can do it, why not Apple?

If Final Cut Pro wants to be a grown up app,
they had better stop being pussying around and fix the
media manager section of the app.
Also Log and Capture. It’s like amateur hour.
Where are audio meters? Where is timecode ?
We have to QUESS what’s going on?
Where is the ONE WINDOW, that says
how many audio tracks, how many video tracks,
timecode etc. is happening with the capture?
Do these people at Apple NOT do any PRO editing?

Sure, if you are doing your brother’s wedding,
who the heck cares. But this is not how Apple sells FCP anymore.
Any of us who have used AVID Media Composer for 15 years
knows this is crap, but we hang on hoping someone
will get a clue at Apple. I’m not so sure anymore.

YES, we all like being independent of AVID.
YES, we all like Apple, in theory.
YES, we all like FCP for basic editing.
But to finish a job…to output to tape at uncompressed,
with all your effects….IT’S NOT WORKING.
Who is LISTENING ????
ANYONE at 1 Infinite Loop?

Dan

[Dan Riley]

Something I forgot to mention about editing with an
uncompressed 10 bit sequence…
If you plan on outputting to DVD, you will not need
faster drives. Since you aren’t outputing in real time
to a DigiBeta (or whatever) tape deck, you won’t have to
access the data so fast that it causes you to drop frames
or not playback at all. You can simply render the sequence
and export to DVD via compressor.
However, if you DO want to play out an uncompressed
sequence to tape, even if it’s to your DV machines,
you will need a disk array, either SATA or Fiber.
Some will say firewire 800 is ok but this is not reliable.
A four or eight drive array is really the key to multiple
streams of RT video and no dropped frames with
uncompressed 10 bit SD video. I’m sure you will hear
other opinions…but this is my experience.

Dan

[Dan Riley]

Here’s the thing….
If you edit in FCP using a DV sequence, you are goint to have
titles and graphics that don’t look very good. The compression
of the luminance is 5 to 1. This causes fuzzy titles.
The chroma information is 1/2 of what you get with an
uncompressed 10 bit SD sequence. This causes scmeary chroma.
Your DV footage will look the same in both situations,
but any titles you create and any graphics you import,
they will not look as good when editing on and output from a
DV sequence.

So, do you need an Aurora or Blackmagic or AJA card
to edit 10 bit uncompressed sequences…no.
You just tell FCP to use the uncompressed codecs when
importing and you make your sequence an uncompressed
sequence. But to view that sequence on your external monitor
you do need one of the above cards.
Do you need a card to be able to output an uncompressed
sequence to at DVD, via compressor for instance…no.

My testing shows the quality of titles and graphics
will be much higher when outputing an uncompressed
sequence to DVD than from a DV sequence.

Dan

[Dan Riley]

If you are using Aurora Pipe Studio, you will see white dots
on some clips in 10bit uncompressed rendering,
especially if you use the color correction 3 way filter
and lower the blacks a little bit. This problem will
completely go away with 8 bit rendering.

Today Aurora support told me (because I had asked
them about this previously) that their new driver 4.4,
released soon, will fix this. They also mentioned
Apple has some bugs they are working on in this area
as well.

Dan

[Dan Riley]

I use the below in every project:
https://www.cgm-online.com/eiperle/cgm_e.html

Also these are good for film look.
https://www.nattress.com/

Dan

[Dan Riley]

Doesn’t list FCP5 as compatible.
Anyone using it in 5 ?
Trouble?
Looks like a neat plug-in but I’ve already moved up to FCP5.

Dan

[Dan Riley]

When you log your clips, are you entering the camera,
or angle number in the angle number box, or are you
trying to get FCP to assign the cameras based on
your clip label? If all your clips are assigned
angle 1, they will stay in the angle one box,
in my experience. Are you saying even when
you tell FCP during logging that a certain reel
from camera 1 is angle 1, it doesn’t end up there?

Dan

[Dan Riley]

So, you are saying FCP 5.0.2, when you take a DV
sequence that’s put in a new project and asked to now recapture
the media at 10 bit uncompressed, is not able to do that?
The very essence of uprez is now not working in FCP5.0.2, like it did in 4.5 ?

I can delete my own media. That is not useful to me.
But recapturing only my sequence footage at higher rez, that HAS to be
a part of my workflow. It worked in 4.5. My first uprez with 5.0.2
wasn’t scheduled until the end of this week.
I’m I in for trouble?

Dan