[Francois Jean]

Hi Tim,
Things will be slightly different wether you want to export XDcamSD, XdcamHD or XDcam_HD422. You need to export (share) from FCPX in the appropriate size and codec for the the chosen XDcam format and have it to open in “Content Browse exporter” , mostly the right number of mono 16bit or 24bit audio tracks (usually 8) be it empty ones are necessary. You also need a full install of “Content Browser” which contain embeded it’s package: the “Content Browse exporter” that will produce the MXF clip; then only you will be able to drag the MXF in the right folder on your PMW-U2 or by network (FTP) to a prodisk in an XDcam machine…

I think “Content Browser” can now directly do a lot of the transfer to the Prodisc .

All the Best

ZAP

[Francois Jean]

Maybe you could recreate your camera card structure using a “sparsebundle” containing the folder organization of a typical card from the original camera format, and then putting your mxf at the right level so they would be recognized again by FCPX…

I hope this could work

all the best

zap

[Francois Jean]

Hi Bret,
I do not understand why it’s not feasible to make a 4k size ProRes file instead of a 1080p and do as intended …

all the best
ZAP

[Francois Jean]

You may laugh your head out, but Michael Cioni has done more to innovate workflows of the industry in the last five years, than you – we have been doing in the last forty years. i understand that this presentation is quite clumsy, but I hate when people like you two don’t respect others that are doing well and are trying to change things in a good direction.

It’s so vulgar and cheap

ZAP

[Francois Jean]

VHS is not DV

DV should be ingested via Firewire No reencoding that way … (it is a form of data transfer )

VHS is analog and benifits to be directly ingested in ProRes…

I agree that a “Frame store Time base corrector” in the path is a plus but not cheap

all the best

Zap

[Francois Jean]

Hi
I did some testing reading DV tape over FireWire … in the situation I had (archiving), it did surpass my expectations: i had camera control , but mostly the DV camera was seen as a “CAMERA” in the FCP import window and could create a “camera archive” the tape ran an shots where auto-detected from original camera start stop and E-timecode breaks, i was very happy with the result… As good as DV gets … I did not try HDV over Firewire but i should work the same. I don’t like working with anything under 50 Mb/s. That’s why I would recommend using recording software that comes with blackmagic or Matrox hardware an connect trough “component” cables to your VHS and generate ProRes files ( 720×486 29.97 ProRes HQ targets about 63 Mb/s ) . Major Broadcast corporation usually require a minimum of 50 Mb/s source recording (i.e. IMX for SD, XDcam Mpeg HD 422 etc )

Voila

ZAP

[Francois Jean]

Hi
did you check : System pref > sound > output ?
this could be the problem
all the best
ZAP

[Francois Jean]

Previous post updated to your request … I whish I could write in my own language but that would make things worst for you all.

Cheers

ZAP

[Francois Jean]

In this discussion It is good too go back the the ProRes white paper:
– “While the ability to produce high-quality output is a key attribute of image and video codecs, it is quality preservation—or fidelity—that is the actual goal of a codec. … If an image sequence has visible artifacts to begin with, Apple ProRes will perfectly preserve these artifacts … The goal of every Apple ProRes family member is to perfectly preserve the quality of the original image source, be it good or bad.”

FIDELITY on the first generation and mostly through multi “reencoding” (renders) is key to understand this choice.

I have been doing many test on ProRes, DnxHD codecs and many others , just to conclude that that ProRes is slightly superior to DnxHD as far as Fidelity is concerned…but let us stay in the ProRes arena, looking at the “PSNR Comparison – Apple ProRes 422 Family” graphic it is quite obvious that the minimum bitrate to correctly preserve quality should not be under that of the ProRes 422 ( typically 147mbs )

I believe this is the RIGHT choice that was made as far as preserving QUALITY in FCPX (this also applies in avid :it is not a good idea to go under Dnx145 ). LT can be a correct choice for output but certainly not for editing-rendering, HQ is pretty good and about perfect , but 4444 is just fabulous for the big screen (DCP).

just my understanding

ZAP

[Francois Jean]

These cables are available on amazon japan ..
10 m = $502.00
30 m = $893.00

link: https://www.amazon.co.jp/gp/product/B00ATUCU7C

Cheers

ZAP