Michael Gissing
195
COW Coins
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DaVinci Coins
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Solve Coins
Forum Replies Created
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Personally I finish all SD in an uncompressed 10 bit timeline. Next best is ProRes.
That way the final file is rendered in a codec that doesn’t degrade graphics & text and also it means that grades and other processing are rendered at a higher 10 bit codec.
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Export a quicktime movie with current settings. Don’t transcode to another codec, particularly Dv which will mush your graphics and potentially cause blocking artifacts in the DVD to be worse.
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“Are you sure they used them in the Tarzan movies? ‘”
Yep. Next time Turner TV is having a Johnny Weissmuller retrospective check it out.
I used to also enjoy the modern Star Trek & Voyager episodes that used Australian bird atmoses whenever they were on a foreign planet (even though the planets tended to look like the same valley that Mash was filmed in)
It made me smile because a few of the atmoses were ones I had recorded in the Kimberley region of Western Australia and then donated to a friend of mine who compiled them into a commercial sound FX library.
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Wow it is easy to spook the horses.
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For your edification, 32 bit floating point is the internal processing rate of the FCP sequence and not the clip bit depth. As John Has said 16 or 24 bit 48Khz is best. Do not make clips at a higher bit depth than 24.
FCP outputs 24 bit from the 32 bit float internal. Higher bit rates with floating point processing are used on audio to reduce distortion created in changing levels, EQ and dynamics processing.
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Just a bit of trivial – The classic tumbleweed is actually an import from Russia around 1870. So as a symbol of the wild west it is feral and late.
Like many cliches the fact that it is historically inaccurate in old westerns is on a par with Australian Kookaburra calls being used for Tarzan jungle scenes in Africa.
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System preferences sorry.
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Thanks Eric. Just the sort of informed comparison I was interested in.
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Did you set your scratch disk from the user prefs or just when you used log & capture? Are you saying that the log & transfer ignored your prefs settings?
If so have you done the usual maintenance of trashing prefs etc?
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Far from writing it off, I just want info about how it handles all workflow including grading and also integration with I/O cards. Just how good is the import from FCP, particularly translating FX, text, speed ramps etc.
Can it import say a project with ProRes codec and continue to work in that format? Has Apple licensed ProRes to them as an edit codec?
I will do some homework but any insights into these questions would be appreciated.