Jeff Kirkland
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I e always made use of compound clips as needed as it’s been a long time since that has caused me an noticeable issues. I think the only thing to be wary of is nesting compound clips inside compound clips and getting too many levels deep.
Jeff Kirkland | Video Producer | Southern Creative Media | Melbourne Australia
http://www.southerncreative.com.au | G+: https://gplus.to/jeffkirkland | Twitter: @jeffkirkland -
I don’t do much with MXF but what you’re describing sounds about right. Since the Pro Video Formats 2.0 update earlier this year FCPX considers MXF a native format and so won’t transcode the clips.
If you select clips in the browser and don’t get an option to manually transcode them to optimised media then that’s what’s happening and you’ll have to do your transcoding to ProRes before you import the footage into FCPX.
Jeff Kirkland | Video Producer | Southern Creative Media | Melbourne Australia
http://www.southerncreative.com.au | G+: https://gplus.to/jeffkirkland | Twitter: @jeffkirkland -
is James looking at the enhanced waveform? Often you’ll see some ‘ghost’ waveform even if it’s just based on the pre-amp noise from the camera.
Jeff Kirkland | Video Producer | Southern Creative Media | Melbourne Australia
http://www.southerncreative.com.au | G+: https://gplus.to/jeffkirkland | Twitter: @jeffkirkland -
A. Yes, 50i means 25fps with 50 interlaced fields vs 25p which would have 25 progressive fields vs 25psf which is 25 progressive frames inside a 50 frame interlaced signal.
B. Just using the deinterlace check box is what I’d personally do with interlaced footage and that’s done the job for me so far.
But my question would be, is there any reason you’re not just shooting 25p on the XF100 to start with?
Jeff Kirkland | Video Producer | Southern Creative Media | Melbourne Australia
http://www.southerncreative.com.au | G+: https://gplus.to/jeffkirkland | Twitter: @jeffkirkland -
The answers will depend greatly on the flavour of 4k you’re going to be dealing with and how much of it.
I’m only just dipping my toe into the 4k waters but so far I’ve had a good experience with my 6 core 2013 Mac Pro and a two drive RAID Thunderbolt enclosure. On the other hand, I’m not stressing it to any great degree. Mostly I’m just working with one or two streams of 4k ProRes 422 footage.
Where I find the new Mac Pro can struggle is dealing with non-ProRes media, specifically h264. I recently was struggling to edit a project using native 4k files from a Panasonic GH4. I moved the external drive to my 2013 iMac and everything was a smooth as silk. Now maybe that’s a system issue with the Mac pro but I’ve only recently down a clean install of it and I’ve had the issue fairly consistently over time.
For monitoring I’m using three screens – FCPX timeline on one with the Browser window sent to the second, and I output picture to a 1080p screen via a Blackmagic Ultrastudio Mini Monitor.
Anyway, that’s what’s working for me so far…
Jeff Kirkland | Video Producer | Southern Creative Media | Melbourne Australia
http://www.southerncreative.com.au | G+: https://gplus.to/jeffkirkland | Twitter: @jeffkirkland -
I’m not a big fan of the way it manages its lists of hard drives. Maybe I’m using ti wrong but I seem to spend a lot of time removing catalogues of drives I have no interest in it remembering. If I plug in a drive for five minutes, it’s determined to add it to the list, which can get very long and unmanageable.
Apart from that, I use it a lot and it really like how it keeps track of media and warns me if I’m about to delete optimised media where the original media is no longer available.
Jeff Kirkland | Video Producer | Southern Creative Media | Melbourne Australia
http://www.southerncreative.com.au | G+: https://gplus.to/jeffkirkland | Twitter: @jeffkirkland -
That’s probably true. I usually aim for about -6db with web video…. But I’ve been wondering lately, given that web content is just as likely to be consumed on a television, if it shouldn’t be mastered to broadcast levels? I know what sort of bad language I use when my TV speakers start distorting because of really high audio levels on YouTube or Vimeo.
Each to their own on the web, I guess…
Jeff Kirkland | Video Producer | Southern Creative Media | Melbourne Australia
http://www.southerncreative.com.au | G+: https://gplus.to/jeffkirkland | Twitter: @jeffkirkland -
Choose share to blu-Ray, then under settings, the first drop down is labelled output device. Choose your drive and burn…. Or at least, that’s how it works for me.
Jeff Kirkland | Video Producer | Southern Creative Media | Melbourne Australia
http://www.southerncreative.com.au | G+: https://gplus.to/jeffkirkland | Twitter: @jeffkirkland -
If you are creating an image file, you need to burn it using Disk Utility. Dragging the file to the BD icon is just burning a copy of the image file in the disk.
Alternatively, set FCPX to burn direct to your external drive.
Jeff Kirkland | Video Producer | Southern Creative Media | Melbourne Australia
http://www.southerncreative.com.au | G+: https://gplus.to/jeffkirkland | Twitter: @jeffkirkland -
Also, the audio would have to be phenomenally low if you need to go beyond the +12db that you can apply to a track right off the bat. I’m not in front of my computer but if you hunt for it, I’m sure fcpx also has a gain plugin that you could use to add another 12db on top of that. From memory it’s not called anything as helpful as ‘gain’ though.
Jeff Kirkland | Video Producer | Southern Creative Media | Melbourne Australia
http://www.southerncreative.com.au | G+: https://gplus.to/jeffkirkland | Twitter: @jeffkirkland