Mark Maness
Forum Replies Created
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Well, Anthony….
You’ll have to render no matter what.
But why did you create a ProRes422 sequence and drop your XDCAM HD footage into it?
That’s completely unnecessary to do this. You just need to set your sequence to XDCAM HD (whatever size and frame rate) and set your renders to ProRes422.
[anthony Faulkner] “the footage has nothing but color smoother, chroma keyer and 8pt garbage matte.”
These filters are going to make you render anyway. At this point, I say, just go ahead and render it anyway.
[anthony Faulkner] “Im not sure by what you mean by capture as prores422. I use sony’s XDcam transfer tool and it doesnt seem to have any options for changing codecs. “
You’re right. There’s no way to transcode your footage to ProRes422 using the Sony Software Transfer program. In order to capture to ProRes422, you’ll need a capture card for this.
By the way, how are you monitoring your output? Do you have a capture card?
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Wayne Carey
Schazam Productions
https://web.mac.com/schazamproductions
schazamproductions@mac.com -
[Rafael Amador] “1440×1080 is fully supported by Prores.”
Well… Sort of….
Just try a test. Import in some XDCAM HD footage, place a couple of filters on top and render to ProRes422. Now… Take that footage and capture using ProRes422 (1920×1080), place the same filter package on it and render.
Take notice of the render times. The XDCAM HD to ProRes422 should be longer render times (much longer on our systems).
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Wayne Carey
Schazam Productions
https://web.mac.com/schazamproductions
schazamproductions@mac.com -
Either way you go, FCP has had issues with long render times using the 1440×1080 frame size. Whether you’re rendering in XDCAM HD or ProRes422, it still takes a long time to render.
By the way, as an aside to all of this, ProRes422 is a full raster 1920×1080 codec. When using it with XDCAM HD, FCP has to render in 1440×1080. Basically a non-standard ProRes422 render. I think this throws FCP for a loop and takes a long time for renders.
The reason I say this is because, when I’m working with ProRes422 from the beginning (capture and edit), my render times aren’t near as long as with the XDCAM HD to ProRes422 rendering.
But, all in all, the output looks absolutely stunning.
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Wayne Carey
Schazam Productions
https://web.mac.com/schazamproductions
schazamproductions@mac.com -
There you go, Shane…
That’s it. No single piece or suite of software will do it all. That’s why we have so many choices out there. But it is rather disappointing that FCP cannot edit MXF files natively… But that’s way it goes.
Overall, I’d rather deal with FCP short-comings in our workflow than all the rest of the packages available. Ease of use and affordability is very important to us.
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Wayne Carey
Schazam Productions
https://web.mac.com/schazamproductions
schazamproductions@mac.com -
Good point, Jeremy…
But I think Craig was hoping for this in FCP. BUT, the fact that Premier Pro has this built-in to its software makes folks consider the Adobe offering over FCP when using the EX series. One would think that Apple and FCS3 would have this feature, too. Currently, we are not using the EX series but may in the future, and this is the reason why we do not. Wasted time in conversion of the files to edit.
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Wayne Carey
Schazam Productions
https://web.mac.com/schazamproductions
schazamproductions@mac.com -
Stories like David’s are far too common. My experience has always been to work thru your equipment rep for items like these. They have records on everything you purchase and will fight for your rights if need be. That is if you have a good rep.
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Wayne Carey
Schazam Productions
https://web.mac.com/schazamproductions
schazamproductions@mac.com -
[Duke Bishop] “I have tried capturing regular ProRes also with no luck, so it’s not just HQ that is causing issues.”
That is strange. We capture to ProRes fairly regularly without issues. I’d say reset your permissions and blow your prefs.
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Wayne Carey
Schazam Productions
https://web.mac.com/schazamproductions
schazamproductions@mac.com -
Hmmmm…. That’s a new one.
Can I ask you something? What’s your originating format and why are you trying to capture to ProRes 422 HQ?
You are aware that ProRes 422 HQ was meant for film resolutions like 2k and 4k work. And, you do know that ProRes 422 is a 10-bit codec, right?
I say this because so many folks out here are using this completely unnecessarily. What ever your original footage is based on, well, you can’t get any better quality than the field tapes or discs. You can’t make DV look like HDCAM and that’s what most folks think they are trying to do when using ProRes 422 HQ.
Just some info for ya!
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Wayne Carey
Schazam Productions
https://web.mac.com/schazamproductions
schazamproductions@mac.com -
[J. Tad Newberry] “From this table, it seems like it is always best to leave HDV as HDV. Faster rendering on both ends and smaller file size…BUT, it seems when i have a full time line of tons of HDV clips, transitions, graphics, etc., it seems like the HDV stuff takes longer to render…but i haven’t done a test like the above for full time lines. Most people here are saying it is not efficient for the computer to use HDV clips, so best to convert….but in this instance, i’m not seeing the benefit.
So, my final project goes out to one client as an HD QT file on a hard drive, and to two others as an SD master on BetaSP tape. “
Ok… Now, you see what I’m talking about. But for your final output, you can make it whatever you want. That means rendering, though… But you have to look at it this way, do I want longer render times in my edit or one longer render to another format on output?
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Wayne Carey
Schazam Productions
https://web.mac.com/schazamproductions
schazamproductions@mac.com -
Uh, Mike….
DId you read the original post?
< We are working on FINAL CUT PRO in Sony EX-HD format. Using a HArris Server for HD video and InfoSan (X-serve) for graphics and music. >
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Wayne Carey
Schazam Productions
https://web.mac.com/schazamproductions
schazamproductions@mac.com