Ravi Kiran
Forum Replies Created
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I tried this. I unpacked the .component files and put them into Library > Quicktime, then I rebooted just to be sure. I still don’t see the ProRes options in Prelude or Media Encoder. Did I miss a step?
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I’m not sure what version exactly it was, since I’m not the colorist, but I will find out.
The timeline is 29.97, and there were some non-29.97 clips, but those were baked into 29.97. There *might* be one or two such clips still in the timeline, but I doubt it. Most of the footage is 30p, though there’s some 60i footage. Lots of speed ramps (through speed segments) were used throughout, though the clips that have been slipped aren’t always speed-ramped, speed-changed, or reversed. It’s mostly ProRes 422, with some ProRes Proxy files.
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I used the same settings (1920×1080, Fit Width 2X) in Clipfinder for anamorphic footage and it worked like a charm.
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Is copying to 2 drives using Shotput Pro any slower than copying to 1 drive?
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What settings should I use? I cannot get it to letterbox it. It either comes out 16:9 or as stretched 4:3. And there’s a lot of aliasing.
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Is it possible to use one copy of the upgrade to upgrade two copies of FCS on two different computers? Or would I have to buy one upgrade per copy?
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I recently worked on an edit of a very long project we shot on the EX-3. We used quite a few filters, picture zooms, etc. and our rendering time (for the red bar) was very long. Would transcoding the footage to ProRes have helped this? Do you generally use ProRes or ProRes HQ?