Jason Ferris
Forum Replies Created
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Thank you for the replies. Native H264 editing would be new for me. I’m currently transitioning from FCP7 to FCPX and have been transcoding to pro res for years, so I don’t mind this extra step. But based on your feedback I’m leaning toward the 21.5″ retina so that I can upgrade to an i7 processor. It sounds like this is worth it.
Followup question: best cost/speed configuration for hard drive? Again, my main activity is video editing. 1TB Fusion, 2TB Fusion, 256 SSD, 512 SSD? I already keep most of my media on external drives, so am mainly concerned with speed.
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I’ve been using the new version. After going through my drives, I’ve discovered that the problem has happened with both the 1st version and the newer version of the software.
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And yes, these were 7D clips. Not that that matters — you’d get the same results from another camera.
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The mistakes were all over the board. This is why it’s such a horrible problem. Anything from 10% – 90% of the clip could be missing. I’ve probably logged 500 clips using the plug-in and will now need to go back to compare them all.
According to some reports, the problem is due to trying to use FCP during the transferring process. Perhaps it overloads the processor? Whatever the cause, I’m going to err on the safe side and avoid the software altogether until they get this bug fixed.
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Olin and Jeff,
Thanks for your comments. For this project, I’m going to use ProRes 422, but I’ll continue to use ProRes LT for all of my web videos.
“If you were truly going for the ‘best picture’ possible, why would you shoot with a h.264 based codec?”
The answer to that question is simple: because I can’t afford a nicer camera!
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“If I intended to do lots of color correction and compositing, yeah, I might choose ProRes422 over LT. If system performance or drive space is any level of an issue? Then LT.”
Thanks, Jeff. This is what I was looking for: some idea of the relative advantage of each codec. I think I’ll buy some new drives and start transcoding at ProRes 422. As you say, it may produce some benefit and will help with color correction and projection.
In the meantime, I’ll begin learning more about the other points you and Craig raise.
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Thanks Craig! This definitely helps, but I also have a specific question about ProRes LT vs ProRes 422. Basically, do I gain anything by transcoding to the larger ProRes 422 when ProRes LT is already twice the bitrate of H264?
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Thanks, Peter. I send an email early this morning but haven’t heard back yet.
I find that when I highlight the text in Boris before changing the levels, the levels are more stable. However, they ALWAYS change. For example, if I try to set the levels at “235, 235, 235,” when I return to the Boris tool these levels have changed somewhat: “235, 235, 239” or something similar.
Is the problem that I’ve added a drop shadow? Could that be affecting the color levels?
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Problem solved!! Thanks — it was indeed the frame rate.