[Don Walker]

In reading this thread it is obvious I don’t know my codecs like I thought I did. Aren’t Mpeg 4 and H.264 basically the same thing, and if not what are the differences and what are typical applications of each? I do know that the compression of AVCHD is basically Mpeg 4, which if I understand it right, is a more efficient cousin of Mpeg 2. But i was under the impression that H.264 was just an Apple version of it.

don walker
texarkana, texas

John 3:16

[Don Walker]

With the speed that FCP transcribes AVCHD to ProRes, it would foolish to edit AVCHD natively even if you could. ProRes would use your computers resources so much more efficiently!. I have been using a Panasonic HMC-150 as a second camera to an HPX-170 and on the timeline the footage looks identical. I would be willing to bet that the HMC-150 would hold up pretty well as a 2nd to some higher end cameras as well. It’s a great little camera and workflow. (ALWAYS BACK UP YOUR SD CARDS TO A HARD DRIVE!!!!)

don walker
texarkana, texas

John 3:16

[Don Walker]

what I meant by “dealing with it” is to wait for the computer to catch up with your keystrokes, and mouse inputs. If you are paitent with it you should be able to get the clips you need. Also (if possible) while your shooting, take careful time code notes of the segments you’ll need, and enter the timecode in the L & T window to set your in and out points

don walker
texarkana, texas

John 3:16

[Don Walker]

In the log and transfer window, the computer is having to decode the native codecs of the camera your offloading the footage from… It’s a much more processor intensive workload than playing back files such as ProRes, which are optimized for editing in FCP. That is why your playhead is difficult to control and your footage is so stuttery. Your computer is also NOT ideal in the processor and memory department. I would either be do what Jerry said to do and transfer the whole clip, or (if your raw footage is long but the footage you need is short) be very patient with the computer and deal with it. It is not a bug per se, it’s just long GOP codecs…..

don walker
texarkana, texas

John 3:16

[Don Walker]

David,
Thanks for your reply. Disk Warrior does not recognize the drives either as a Raid or individually.I should have mentioned that in my original post.

don walker
texarkana, texas

John 3:16

[Don Walker]

I for one, sometimes feel like a creative turkey! Happy Thanksgiving Everyone!
don walker
texarkana, texas

John 3:16

[Don Walker]

Rafael,
I almost forgot.
I worked for WXIA in Atlanta from ’86 to ’93 and then freelanced with them through ’99.
They are owned by the Gannett Corporation which prints USA Today. For a very short period of time in the late ’80s early 90’s Gannett produced “USA Today” the TV show in a studio on the East Coast. When that went bust, our production manager and Station manager lobbied to get the equipment brought to Atlanta. We ended up with a graphic suite in the basement of the station Quantel Harry, GVG Kadenza, D-1 machine etc. It was mainly the domain of John Burns of “Television by Design” and his brother Jim, who was hired by the station. When it was first installed however Ian Feinberg and I went down and jumped on the Harry and produced a piece for the Georgia State Games, that won us a Regional Emmy.

John and Jim Burns for a long time produced graphic packages for stations all over the country (including CNN) from the edit suites of Gannett Production Services (GPS) in the back of the station on West Peachtree in Atlanta. Very talented brothers.

Sorry to brag….. but you mentioning Quantel brought back memories.

don walker
texarkana, texas

John 3:16

[Don Walker]

Before non-linear: CMX, GVG Accom,
First non-linear: Imix Video Cube,
Followed by: Avid MC, Media 100, Premiere 4.2, a wee bit of EDIT, Avid again.
First FCP 4.5
Now: FCP 7
Accom was by far the best of the linear editors
Video Cube was ahead of it’s time in some respects. Loved the control panel
Last linear session: Freelance session at Creative Digital in Atlanta. CMX Omni, and I think a GVG 4000 switcher.

don walker
texarkana, texas

John 3:16

[Don Walker]

How about this from Telestream? https://www.telestream.net/pipeline/overview.htm
don walker
Texarkana, Texas

John 3:16

[Don Walker]

What is professional? A lot of people will make good and even great productions using PPro, and they will make money doing it. Hence they are “Professionals”. Most of my clients could care less what I use, as long as the final product looks good.
My point is you can make money on all 3 systems, and all are “Professional” products. Gary how many of your clients insist on AVID, just to use the buzzword that makes them feel “professional” I remember talking to the senior editor of one the biggest Post houses in Atlanta, Georgia about 8 years ago. I was musing about the growing phenomenon of FCP, and he said in a very authoritative voice, FCP will never be a “professional product” Opps…… Could PPro be at the verge of wide spread adoption right now.? It has a lot of things going for it.
As a FCP editor, I am contemplating CS5 because, I believe the quality of production would remain the same, with a lower cost of ownership. Like a majority of us out there, I have the CS5 Production bundle on my computers because of AE and PS. Why not pay for the update of just CS5, instead of FCP and CS5.
I’m not there yet but I’m thinking about it.

Be an editor first and a software operator second
don walker
Texarkana, Texas

John 3:16