[David Hunter]

Thanks for your reply, Chris.

We are investigating the rental. Had hoped not to spend more money, but using our own camera doesn’t look feasible for this job.

[David Hunter]

At 9:15 am my Adobe CS5 Creative Suite Production Premium arrived in Dallas, shipped by the Videoguys in Glen Cove, NY. At a great price. Tomorrow morning I head for the airport and on to check this out on the MacPro station in Vienna, Austria. Thanks Barbara, Gary, Rich!

Thanks to you, Dennis Radeke.
Thank you also, Darren Kelly.

I owe it to the Forum!

I will be back for more “stuff” from the Videoguys and will check out toolfarm.com !

[David Hunter]

Brian, thanks for the Toolfarm link. I will definitely be looking at them for Premiere compatible plugins. Thanks for the reference!

[David Hunter]

Okay, so far, so good. I talked to Rich, I think it was Rich, and Barbara.

The plan is to ship the discs to me at my hotel in Dallas by tomorrow before noon.

The credit card went through and Barbara, their Gal Friday for Orders, gave me all the details.

We didn’t talk about a 5% discount for COW members, but, the price was good.

It was definitely because of this Forum that I found, hopefully, the solution to my problem.

I will report back when I have the software in hand tomorrow.

I head back to Vienna on Thursday, so this is in the nick of time.

[David Hunter]

Thank you Dennis and Darren for this suggestion.

I will call Videoguys on Tuesday morning from Dallas and see what I can come up with.

I have been reading about Premiere Pro for months — one of the reasons I want to try it is to use the 64 bit processing engine which I know Apple will never get around to supporting for professional editing.

I will report back on my dealing with Videoguys.

[David Hunter]

David,

You were absolutely correct to surmise that tons of users will be stunned on upgrading to FCP X and discovering that all of their expensive plugin goodies are left out of Effects.

And, I don’t see Apple taking any additional steps to warn FCP 7 “upgraders” that this is NOT an UPGRADE. It is a wholesale replacement program that does not recognize FCP 7 projects!

And no way via Apple to IMPORT .FCP files.

This is huge, huge.

And you can be sure that thousands of users are going to be stunned to make these discoveries after the fact. I also see that Apple is HIGHLY recommending installing its latest OS X if you are going to run FCP X without significant “issues”.

So, $299 for FCP X, (higher in other parts of the world), and Pro Export FCP for $495 (upgrade $195 for Pro Export FCP) so that you can export the standard AAF/OMF audio file formats.

Then edit without all your plugin goodies for the next how many months. I assume some companies will offer upgrade pre-existing client discounts, but….

it is STUNNING that this is sort of a “stealth” rollout considering how many bad reviews will scorch Apple for a few months.

Bad, stupidly and unnecessarily bad PR.

[David Hunter]

HMMMMMMM…..I hear you.

[David Hunter]

Responding to my own post: I found Andreas’s patent submission dated 2008. He was a poster on Apple Lists going back to 2003-2004 up until 2007 and then posted a couple of things in 2009.

BUT, looking at his Support page more closely I now see that his latest SheerVideo codec 2.8.0.10 was posted October 21, 2009 and that Andreas posted LOTS of revision versions in 2009, every couple of months.

So, it appears since the 2007 article that SheerVideo has been robustly developed, de-bugged, and continuously refined.

With that I have downloaded a 20-days trial to see what the new-and-improved SheerVideo codec does in Final Cut Pro 7.

[David Hunter]

HI SHANE, thanks for taking the time to comment!

Now that I look back I bought two books and I must have been confusing you with Lonzell Watson!

As for DVCPRO HD 50 I was confused again. referring to the camera setup that allows shooting up to 50 frames per second. And yes you are correct that sometimes the DVCPRO HD codec has a “100” appended.

As far as picking up 2 bits–from native 8 bit DVCPRO HD to 10 bit PRO RES–are you implying or working under the premise that this gives you extra specs room to play with when Color Correcting?

Are you working in ProRes 422?–the one called “an intermediate codec intended for video editing and not for end user viewing”?

Or do you use ProRes 4444?

Apple says this: “The family now includes ProRes 422 (Proxy), ProRes 422 (LT) and ProRes 4444, in addition to the original ProRes 422 and ProRes 422 (HQ).”

One more area of confusion is that it seems if you are preparing clips for online…the variants of mpeg, or .flv files, or QuickTime mov files that now you have to dumb it down even farther because these are just wrapper formats that depend on the client side online to be able to decode the CODEC you used when creating an online player friendly version. And that this extends to .flv files controlled by a .swf file or to Flash Video encoding.

So if you have a video that will be mastered to DVD, yet also clipped for Youtube, Vimeo, etcetera…and Quicktime video players you have to abandon the ProRes codec or the ten thousand other codecs to re-encode for some things like H.264 because of more widespread codec support for online video purposes.

I have videos running on various websites in .mov and .flv formats and this compatability of codecs seems to be the small hole in the hourglass that all the sand of competing recording and editing codecs has to pass through to reach the web.

[David Hunter]

Of course I realize my last question about whether to keep editing with DVCPRO HD is a new question contrary to my original thread question about FASTER Render for the editing of HD.

I am guessing…have not tried it yet…that for my original question about creating a low-res, faster render project for more like an offline session I could copy the high resolution clips contained in the main project bin into a new bin in the same project and then send them out to Compressor to batch convert to a lower resolution, lower file size version that still keeps the original frame rate and frame size, such as 1440 X 1080 pixels. Import them back and use that bin with the same Compressor codec as the project timeline setting.

When time comes to re-enocde to the highest quality I could reset the project properties to the higher DVCPRO HD or ProRes settings, close the project, re-open FCP 7, make sure I have the last .fcp file, and then open up the high-resolution bin….and do something to make sure that I can lay all of these back into the finished project timeline for a re-render at the higher resolution encoding….

This is my guess at a possible workflow but I must be missing some necessary steps or shortcuts.