[Nick Price]

Hi Meagan,
the thing to do is be very organised about logging and transferring the footage into your system. Make sure they are conformed to the same codec, that will make your timeline play properly – I imagine ProRes is the preferred format. If it is prores you might need quite a lot of storage space if you are shooting a doc feature.

Be consistent about naming and backing up your footage. It is so easy to lose track of rushes especially if you start cutting corners midway through the project.

hope that useful
cheers
nick

[Nick Price]

HI chip,
what were the results like? Did the quality look acceptable, considering its never going to look like filmed HD? Would be interested to know if this would make a difference if a digibeta shot film would look better as HD if an HD projector were available for screening.

thanks
nick

[Nick Price]

hi
10bit uncompressed should be fine to edit with, but you need a drive fast enough to play it. Firewire minimum. Dont try and play it off your laptop hard drive cos it will stutter..
best
nick

[Nick Price]

not really, in fact with the right bit rate i have found they are better quality and smaller. Just needs a bit of testing
n

[Nick Price]

Hiya,
you should be able to transcode all the source clips in compressor or similar. Save them in a different folder to the original clips. Then in FCP control click on a clip in the browser and select reconnect media and point it towards the newly transcoded clip. It will probably come up with an error message saying different reel name/different timecode etc but the clip should be the same length and will retain the correct in/out point on the timeline.

Before you do this, make a copy of your entire project as a backup. Also try with just one clip first. It’s time consuming and if you make a mistake – you might not have the ProRes settings exactly correct – it will take another day to transode again!

best
nick

[Nick Price]

definitely agree with michael. Titles and grading look better uncompressed.

If your in PAL make sure the shift fields filter is added your clips in the uncompressed sequence – DV PAL is lower field first and uncompressed PAL is upper field first – otherwise your footage will be jittery. FCp adds shift fields when you cut/copy a DV clip into an uncompressed timeline but not when you duplicate the sequence.

cheers
nick

[Nick Price]

Hi Chris,
It probably worth keeping HD for your main workflow, titles, grading etc. That will give those process the chance to look their best – then you can downgrade the footage to SD.

If you downgraded first, then graded etc you produced a worse result. With the prices of hard drives tiny I would keep your workflow if you can

n

[Nick Price]

hi blake,
i used to use ON2 for FLVs, but have since moved to creating H264s using compressor. Its way way quicker than ON2 when you have qmaster using all your cores. Then once its done change the .mov to .flv and you have a flash. Just as good quality in a fraction of the time

cheers
nick

[Nick Price]

hia
also just to add another thought. If you’re using compressor now you don’t have the file structure, are you using qmaster to enable all your computers processors? It will speed up transcoding massively, especially if you have a mac pro.

https://forums.macrumors.com/showthread.php?t=337736

cheers
nick

[Nick Price]

Hi Mark,
not sure of other programmes to watch the timecode, although quicktime player will do it. And its free. In the time window at the bottom left you just need to select ‘timcode’ rather than standard.

To burn in timecode i use compressor, because of the ability to use more processing power. There is an option for adding source timecode and a little background for it. Use this great tutorial to see how

https://www.jamesnweber.com/blog/2010/04/readable-timecode-window-burns-in-compressor/

cheers
n