Erik Lindahl
Forum Replies Created
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I tested to create a new project in AE9 and import the AE7 project as footage (i.e. import the project) and I have the same end result. It stalls at 96% complete. I’ll let this work during the evening to see if it eventually figures out what ever is the problem (broken links or what not).
What David said might be a solution but it’s sadly a relatively complex project to split up and re-import. I will give that a shot tomorrow however. Another solution would be appreciated.
Erik Lindahl
Freecloud Communication
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What I’ve done when needing to send high-resolution review copies with short round-trip-times is to use the Photo JPEG codec at 50-75%. File sizes are larger than h264, but smaler than ProRes and the encoding time is faster than realtime. Playback also works on all systems with out hassel of installing a ProRes codec.
Regarding crackling sounds I sadly can’t help… I tend to use QuickTime player for quick and dirty h264 output or Telestream’s Epsiode for “mastering” output.
Erik Lindahl
Freecloud Communication
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I can’t verify this in regards to 4:2:2 YUV in / output to and from HDCAM SR. However, working with SD 4:2:2 YUV to and from Digibeta, graphics render out much better when I work in 4:4:4 RGB (Animation) on my system – even after out to tape and re-capturing to 4:2:2 Uncompressed. I believe this is due to the Kona 3 card handling the down-sampling to 4:2:2 when laying out to tape over Apple’s software. Hence working internally on your system with 4:4:4 might have it’s benefits.
On the contrast to the above Apple does have the 4:4:4 croma-filtering option with ProRes 4:2:2 which might be to adress the “jagged” or aliased edges you get when using the uncompressed 4:2:2 codec. So working with ProRes 4:2:2 or 4:4:4 might not prove to be a huge difference in this regard in the end on tape.
Erik Lindahl
Freecloud Communication
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Yes, in general people can come to use a broadcast safe filter as a “make my output ok” step, which it sort of is, but you can’t simply disregard understanding how a “legal” copy is made and what a legalizer or legalize filter does. I’ve had material shot on film, scanned to Digibeta and graded on a da vinci still being on the verge of legal or not legal (we all want to push things to the max). Even this type of material can be devastated by FCP’s legalize filter from my experience, much more so than our legalize hardware. Then again it’s not fair comparing a “free” plugin with a 4000 dollar box or what ever it cost.
At the end of the day check what happens with your material on a broadcast monitor AFTER you legalize it. If things look wack, looking at the scopes FCP has, see how the filters affects your image and perhaps run the material once again through CC or just apply a secondary one on your final master.
Erik Lindahl
Freecloud Communication
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Not sure if it helps but I can “confirm” that we use a similar system as your self with out any issues.
– Quad MacPro 2.8
– Radeon 4870 (DVI / Display Port)
– 23″ Apple display
– 20″ Apple displayWe run the DVI cables about 15 meters with out any issues. We do have a set of repeaters however (unsure of brand). I was a bit worried about the Display Port but everything works as before (using a Display Port > DVI adaptor from Apple). So the GPU and Display Port > DVI should work, given your setup is a bit different.
As for Gefen we’ve only had good experience with them also. We use a 2×2 DVI / USB KVM in the second suite. One thing we where required to get there was so called “DVI Detectives” for each port however since we had issues with blinking / switching screens. These solved all those problems there.
https://www.gefen.com/kvm/dproduct.jsp?prod_id=4714
Erik Lindahl
Freecloud Communication
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Do you apply any other filters at the same time as you apply levels and / or legalize? Stacking of filters can make FCP bug out and render incorrectly, esp. in sequences with higher bit-depths than 8. You can also try rendering in 8-bit as well as 10-bit and see if it makes any difference.
Erik Lindahl
Freecloud Communication
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In a sensitive environment wait for sure, at home I’ll upgrade.
Erik Lindahl
Freecloud Communication
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I’d go for 4:2:2 YUV 10-bit uncompressed OR give ProRes 4444 a shot.
I recently edited and color-corrected a spot shot on RED with ProRes 422 and was pleasantly surprised how well it worked even during grading. I have however had very poor experience earlier with RED and ProRes footage in regards to keying work. Still, the lower datarate of ProRes has huge benefits also if it works for the project.
Erik Lindahl
Freecloud Communication
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A note regarding the legalize filter in FCP. Given this can give you 100% legal colors do monitor your output and how this filter affects your media. I’ve had some fairly mixed results comparing it to our hardware legalizer (sometimes very good sometimes very bad). Mind you we’re also working in PAL here which can affect things.
With the advent of end-to-end tapeless editing here in sweden (i.e. we’ve shot on RED, edited in FCP / Color / AE in ProRes and delivered a MPEG2 stream for broadcast) the legalized standards have actually become a bit more lenient here (100% croma vs 75% for instance). Still, I’d rely on a legalize-type filter or hardware with care and try to edit / color correct with-in a legal space.
Nice blog you got going there btw Biscardi!
Erik Lindahl
Freecloud Communication
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What Walter is getting at is why I ask if FCP7 has improved in this area. Personally I have little need for this “real realtime performance”, the new features of FCP7 will be sufficient for my needs since I primarily need a realtime preview at high quality. But I understand for certain operations this is critical and FCP has little chance in this area.
I am surprised this feature has yet to come back to Final Cut Pro and it’s part of my “why didn’t they do that?” with Final Cut Studio 3. I get cards like Cinéwave isn’t a optimal or even elegant solution since it’s all hardware based and it’s not very open for the future. It also doesn’t scale outside of systems that don’t have this special piece of hardware. I think Apple should look at the current possibilites in the RT realm with the use of a general model instead in harnessing the GPU with OpenGL and OpenCL, making for instance “guaranteed levels of RT”. This might come but I think it will be a few years off still and it might mean a fundamental rewrap of the core of Final Cut.
Erik Lindahl
Freecloud Communication
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