[Paul Dougherty]

Thanks Craig,

If I did “hide” 3.5 to preserve it during /after for the Compressor install, will still play nice with FCP7? Has anyone done this?

Paul

[Paul Dougherty]

My bad, one src clip is 32bit

[Paul Dougherty]

Thanks so much Shane for your thorough, thoughtful answer. Hope springs eternal but my wish is not meant to be:)

Paul

[Paul Dougherty]

this is the summary of the ‘research’ I’m sending my client…

Lot’s of really smart people have weighed in on yesterday’s challenge, the upshot is that there is no ‘magic bullet’ work-around. 2.5 hours of footage will translate to over 30gigs which by my reckoning is to big for practical internet upload/download.

One area that hold promise but would require additional experimentation on my part in finding a sweet spot between quality and file size that might represent something like VHS quality, not great but totally watchable. Part of the complexity is that when you deviate from the industry full-rez standards like ProRes and DV, it’s really up for grabs as to what is ‘edit-ready’… next do we mean ready for FCP, Avid or Premiere?

[Paul Dougherty]

[Rafael Amador] “No edit-ready with H264.Not supported by FC.”

I ran some tests FCP7 that seemed promising with the h.264 all-frames compression setting. It seems my FCP defaulted to a Seq that was 1440×1080 and (compressor) HDV1080i60. I think I edited in the h.264 clip and the only thing that required rendering was the audio. At some point I changed the Seq compressor to ProRes did a cupel of more edits and the several edits in the timeline (seq) played fine except for needing to render audio. Was this a pipe dream?

Paul

[Paul Dougherty]

The upshot from my posted question and answers yesterday (Thanks everyone!) is that here is no ‘magic bullet’ to do what I hoped for… if a client has this problematic mandate (rapid internet delivery of lots of footage) the best but flawed solution is to compress to h.264 set to ‘all frames.’ To get the file down to a reasonable size (yes subjective) and edit-ready – would mean something less that professional hi-rez, but for some emergency circumstances this might be tolerable.

If the client is dealing with certain vendors or partners regularly we could work-up a routine doing lo-rez proxies etc but for a general release to unknown recipients, it’s too complex.

Just a quick dummy question, in testing the h.264 set to ‘all frames’ in FCP7, I find that a modified Compressor preset results in audio that needs to be rendered in the FCP sequence, how can I avoid this? (What audio setting would minimize the need to render audio in the FCP sequence?)

Thanks,

Paul

[Paul Dougherty]

Thanks Craig,

I believe you meant to say “You can’t change the quality of a ProRes file. ” Ok understood.

In this first shipment we *might* know something about editors and edit systems on the receiving end but in pass two that will be an unknown. For example, what do outfits that distribute VPRs with raw footage packages for news & TV stations do? I’m guessing they do this over the net, what file format would they upload.

Such outfits would be distributing to the world and would have to prep a one-size-fits all, knowing little about the target systems.

Paul

[Paul Dougherty]

Possible clue… I didn’t think I still had the original ProRes video file (in its native state) in the proj that went into the Merged Clip. (Maybe that’s a given but I had thought the video clip got subsumed into the Merged Clip.) I am able to relink to the original ProRes video file but that did not make the merged slip, sub clips made from it or seq made from them come on-line.

[Paul Dougherty]

One part of my original post I should have included was this, on launching the moved project FCP reports media off-line. When I direct it to reconnect to missing media I get this message “there are no clips selected that have files associated with them” why would that happen?

Paul

[Paul Dougherty]

I discovered that the main source of my sync problems was related to the Kona card. I had the HD monitor powered off but External Video was enabled in FCP. My ProRes files would play in sync on the HD(Kona) video display but be many frames off on the Mac display. When I disabled the External Video, the sync on the Mac display was fine.

I can’t prove it now because I’m not there but I do not think this discrepancy was universal, when I was lining up the ‘good’ audio to the h.264 file, I did not notice a problem.

Paul

p.s. thanks again everyone