[Jeff York]

More than 5 years after the fact, but I’m just now making the switch from FCP7 to Premiere Pro CC and came across this thread. Had the issue where up/down only jumps to the next edit on V1 instead of any track like it did in FCP7. Found that there is already built in a shortcut in which shift+up or shift+down acts like the old FCP7 shortcut. I remapped up and down to “Jump to next (previous) edit on any track” to my up and down and it works like a charm.

Just posting in case any other newbies like me are making the switch.

[Jeff York]

It’s early 2014 and it still works via software update, but who knows for how much longer. I would say everyone should go here ASAP, grab it and store it while you still can.

https://support.apple.com/kb/dl949

[Jeff York]

I could be wrong, but I don’t think there’s enough information here to give you an answer. You need to find out what your client is going to be using for an edit platform so you can deliver a file format friendly to that.

In hindsight, it might have been better for them to do the edit first and then do any color correction after. That way, you’re not color correcting all the footage, just the footage they intend to use. Of course, that assumes they’re willing to come back to you after they’re done their edit.

[Jeff York]

As Shane alluded to, H.264 (and I would think H.265) are really delivery codecs, not production codecs. The question is really when/if will Apple incorporate it into a new version of Compressor. Then the assumption will be that us FCP7 hangers-on will be able to still “Send to Compressor” as we always have.

[Jeff York]

I’d be curious to see what the results are after you matched Jerry Wise’s settings. He did exactly what I would have done.

I want to underscore something Jerry said because he’s exactly right. Don’t poo-poo shooting in interlaced. Initially, it bothered me to no end to be forced into shooting 1080i just because the station I was working for aired in 1080i, but the fact is it’s quite beautiful when done correctly. True, your graphics look ratty when stilled, but who watches graphics stilled on TV for very long other than editors? Plus, as Jerry said, the motion video looks very nice. And you have a pixel for every frame of a TV displaying in 1920×1080…at least vertically.

I am curious why you’re taking your 59.97i footage down to 29.97i? You are tossing half of your data away at that point.

[Jeff York]

It depends on how the deinterlacing is being done. You can copy the field above and use it to fill in the missing field (weaving). You can try to cobble together the missing data by blending the data from the adjacent fields (above and below). Selective blending tries to blend the fields only where there is motion from one frame to the next by frame analysis. Many compression programs such as Apple’s Compressor allow you to set the method used.

[Jeff York]

[Joseph Owens] “I’m officially a broken record. X will become universally useful when it becomes FCP8. Heard that before?”

Preach it, Brother!

[Jeff York]

Final Cut, in general, tries to operate in a non-destructive way. As Tom Wolsky writes, what you are seeing is the output of the timeline which FCP will want you to render since you changed the codec. At that point, you are seeing ProResHQ after FCP has created a separate render file that it’s playing back from. Since ProResHQ has a higher data rate than ProRes, you will not likely see a difference. It’s a little like taking a VHS tape and dubbing it to digibeta. You won’t really lose anything in the dub, but it’s still going to look only as good as the original.

In order for your experiment to yield useful results, you will need to take a file with a higher data rate than ProResHQ can handle (like 2k). Then convert from the original file into both ProResHQ and ProRes using Compressor.

Also echoing what Tom wrote, it’s unlikely you will need all the bandwidth that HQ provides unless you’re dealing with some really high end original footage (like film). For local TV broadcast, I’ve been very happy saving space and using ProResLT. It’s still a higher bandwidth than the transmitter uses. I just make sure not to go tossing out the original footage.

[Jeff York]

Yes, different screen capture options that perhaps don’t need to split the audio and video captures. Maybe ones that people can share first hand experiences with.

[Jeff York]

No, I’m pretty sure there’s other methods.