[John Heagy]

[Jeremy Garchow] “FCPX now works like Adobe Pr. Everything is recompressed on output.”

What led you to this conclusion? I believe exporting at “Current Settings” is a simple flatten process if everything is ProRes, and if not it’s rendered to ProRes then flattened.

To test this I exported a 100% ProRes project using “Current Settings” this tasked my 8 core at 125% CPU. I did the same export but selected ProRes LT and my CPU climbed to 450%. To me this is a clear indication that Current Setting exports in FCPX is the same as FCP and only flattens, while selecting a different codec encodes to the selected codec.

I’d be very interested in any info that disputes my assumption.

John Heagy

[John Heagy]

[Lance Bachelder] “I for one still believe it’s just easier to transcode all the footage coming in to one workable codec.

I understand most NLE’s can now work with varied codecs and frame rates, but that doesn’t mean you should.”

Agreed… A paint job is only as good as the prep work prior to spraying.

In this case the prep work gives one an optimized codec and required metadata.

Time and reliability is critical as the project approaches deadline. Time spent at the beginning to prep all the files will reap rewards as the deadline approaches. This is especially important considering a project’s complexity increases the closer it is to completion.

In a fast shared environment, and a good sized Episode Engine cluster, one can transcode files far far faster than one can backup the originals. I’m currently at 1/10th realtime for AVC-I to ProRes. At the end I have a homogenous frame rate, frame size, codec and embedded Reel/Tape ID that facilitates workflows down the line.

John Heagy

[John Heagy]

[Christopher Travis] “I exported the 15s clip from my 23.98 Timeline
Conformed to 25fps in Cinema Tools
Took it into Compressor and in “Frame Controls” set “Set Duration” to 00:00:15:00 and exported from Compressor”

You did an extra step. If you created a 23.98 seg 4% longer and then conformed to 25fps you are done. No need to do anything in Compressor.

In the case of your 23.98 15sec seq you would need to make it 15:15 long. Conform 23.98 15:15 to 25 and you’ll get 15:00

[John Heagy]

There’s also HyperFS from Rorke data. Formerly from Falcon Stor and before that a research group in China. It a file level SAN.

https://rorke.com/products/san-storage-area-networks/hyperdrive-file-level-san/

[John Heagy]

[John Huckleby] “it made a HUGE difference. I was coming from an 8800GT”

Thanks John that is good to know.

We have ATI 5770s in our MacPro4,1s so I’d like to hear what difference moving to a 5780 from a 5770 made.

John

[John Heagy]

I’d be interested in hearing if the newer 5870 may a big difference.

[John Heagy]

[Christopher Travis] “My plan is to cut at 23.98 in a 23.98 timeline to the exact duration required.

Then after final sign off, duplicate all the clips used in the final timelines. Conform those to 25FPS and rebuild the edits on a new 25FPS timeline.”

Like Shane said… the sped up shoots will be too short. You’ll have to extend the conformed shots.

Why not just edit the 23.98 4% longer so when you conform to 25 the time will be correct.

John

[John Heagy]

If you don’t check self-contained you are making a reference movie. A reference movie references the original media from the sequence and it will only work if it can “see” that media. If you move a reference movie to another computer that cannot see the media you will only get audio. FCP reference movie exports do self-contain the audio. Think of a reference movie like a FCP project. If you move a FCP to another computer that does not have the media you get an offline seq.

Reference movies are extremely useful in shared storage environments.

John

[John Heagy]

[Jeremy Garchow] “Think if an export takes 30 minutes in Premiere. After export, a client changes their mind. You make the change, it could be another 30 min export.
Or you have to make another version, that’s another 30 minute export.
Again, this is an over generalization, but this process takes seconds/minutes in 7. “

Every export is an encode and no ref movie export. Export is my biggest issue with Pr.

The biggest plus is the Ae like motion tools and key framing.

John

[John Heagy]

Take a look at Ardis Dynamic Drive Pool. They claim to precisely mimic an Avid Unity among other file systems. They created their own filesystem called AVFS with it’s own simple permissions mamagement.

https://www.dynamicdrivepool.com/index.php?option=com_content&view=article&id=85&Itemid=104