[Olivier Prudhomme]

That would be good news.
I just still can’t find out on Apple website if it’s gen 1 or gen 2…
But I’ll keep looking

Thx!

Los Angeles – TV Promo Editor – FCP – AVID

[Olivier Prudhomme]

Fantastic Brent
thanks a bunch
Never touch Resolve but now’s the time to look into it

Los Angeles – TV Promo Editor – FCP – AVID

[Olivier Prudhomme]

[greg janza] “Here’s an article that explains:
https://blog.frame.io/2017/03/20/premiere-pro-proxies/
“
Awesome Greg thanks !!!

Los Angeles – TV Promo Editor – FCP – AVID

[Olivier Prudhomme]

[greg janza] “there’s a big upside to 4k if you have a fast enough computer to handle it.”
Brand new iMac 27″. I actually moved the media on an external drive and things run more smoothly actually.

[greg janza] “This comes in handy with interviews if you don’t have a second camera that you can cut to and also with b-roll if you want to focus on only a part of the frame or if you need to avoid some of the frame.
But the larger benefit is the much larger color space of 4k which allows for greater freedom and more options in the color process which is especially helpful if you send work to a colorist.”
Makes a lot of sense.

[greg janza] “you can use proxie”
I just asked Brent the same question, so in case he doesn’t get a chance to answer: I looked at Media Encoder to create proxies and the process became daunting which the number or choices I had. Also I was concerned/worried that I would have a hard time relinking xmd files with .mov proxies.
Frame rate also worried me… My original footage seems to be 23.976 but unless I checked all the files I am afraid some might not be (first time I work with this crew so not sure how reliable they are)

Thanks for great input

Los Angeles – TV Promo Editor – FCP – AVID

[Olivier Prudhomme]

Thanks Brent for the thorough answer
Very helpful.
A few questions if you have time:

[Brent Marginet] ” using a Proxy Workflow in any NLE”
I explored this option, which was my first to go workflow, but the process became daunting: using Media Encoder I couldn’t find a solution I would understand…

[Brent Marginet] “Edit with the Proxies and then switch back to the full res video before you do your exports.”
Since I would be making proxies from XMF files, would it be simple to relink the proxy files (.mov) to .xmf files?

[Brent Marginet] ” convert to 4K ProRes”
How do I do that? The only Prores I see is 1920 by default.

[Brent Marginet] “These are the kinds of things that happen when shooters are careless and I receive all of the footage two months after all shooting has been completed.”
I always get the same type of issues… And also the budget one where not much is left for post: On my project, $18,000 was spent on 3-week travel expenses!!! And my budget is a couple thousand bucks!!!

Los Angeles – TV Promo Editor – FCP – AVID

[Olivier Prudhomme]

so how do you use a TV as a client monitor with 25p footage, PAL?

Los Angeles – TV Promo Editor – FCP – AVID

[Olivier Prudhomme]

it goes full screen but frozen image or even black.

I bought the BM Ultrastudio monitor but I don’t think it works for FCP7

Los Angeles – TV Promo Editor – FCP – AVID

[Olivier Prudhomme]

I mean switching projects.
Would BM Ultra mini monitor work you think?

Los Angeles – TV Promo Editor – FCP – AVID

[Olivier Prudhomme]

fantastic as usual Shane.
And I say this every year but you should find a way to get paid for all the knowledge you pour on all the pro websites!!
If you charged 25c a reply you might be close to rich!
Cheers

Los Angeles – TV Promo Editor – FCP – AVID

[Olivier Prudhomme]

while I have you “here” Shane, what is the reason why we should always keep the folder structure when handling this type of footage (and others)
My client isn’t convinced by my answers and keeps saying that they can play the video file by itself fine.
My answer was that we are loosing very important info that was captured like aperture info, TC etc…

Do you have anything better ? 🙂

Los Angeles – TV Promo Editor – FCP – AVID