Richard Harrington
Forum Replies Created
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I prefer to native edit in Premiere Pro… then export a FCP sequence to online in Color
BUT you can import straight h.264 into FCP. No color correction, filters, effects transitions… just cuts.
Do rough strings.. trim b-roll down, get soundbites right.
Then use Media Manager to bump that up to ProRes 422
Then do actual edit. The goal here is to cut down delays and wasted storage caused by transcoding everything.
Richard M. Harrington, PMP
Author: From Still to Motion, Video Made on a Mac, Photoshop for Video, Understanding Adobe Photoshop, Final Cut Studio On the Spot and Motion Graphics with Adobe Creative Suite 5 Studio Techniques
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Let me regurgitate then (https://images.apple.com/finalcutstudio/docs/Apple_ProRes_White_Paper_July_2009.pdf)
“Apple ProRes 422 (HQ): Boasting widespread adoption across the video postproduction
industry, Apple ProRes 422 (HQ) offers visually lossless preservation of the
highest-quality professional HD video that a (single-link) HD-SDI signal can carry. This
codec supports full-width, 4:2:2 video sources at 10-bit pixel depths, while retaining its
visually lossless characteristic through many generations of decoding and re-encoding.
Apple ProRes 422 (HQ) can be used both as an intermediate codec to accelerate
workflows for complex, compressed video sources and as an affordable, highperformance
alternative to uncompressed 4:2:2 video.”“Apple ProRes 422: Apple ProRes 422 offers nearly all the benefits of its big brother,
Apple ProRes 422 (HQ), but at a significantly lower data rate. It provides visually
lossless coding performance for the same full-width, 10-bit, 4:2:2 sequences as
Apple ProRes 422 (HQ) with even better multistream RT editing performance.”https://images.apple.com/finalcutstudio/docs/Apple_ProRes_White_Paper_July_2009.pdf
also see
https://images.apple.com/finalcutstudio/resources/white_papers/L342568A_ProRes_WP.pdf
As far as the rest… Lance. I choose not to work in Hollywood. I have no interest in it. The world of video is much bigger than IMDB. I’ve had the joy of working on PSAs for many top tier folks. I also get to work on other projects folks in the advocacy, health, and education space (that get watched much more than 5 million views). With all of that said… this is NOT about you or me. I am Not attacking your professional credibility…. this is about helping people… Not “toss yours on the table.” Find it odd that you feel the need to attack another leaders credibility.
But I’m done trolling….
Omar… do what you feel is best for you. Personally, I stick to native editing as long as possible until I’ve narrowed down which clips are going to be used. Use any of the methods I suggested to do this.
When that’s done, go ahead and transcode if working in Final Cut Studio. Go right to the source and read the white paper from Apple I mentioned above.
The simplest way I can say it is that Robust codecs are great if you capture to them to begin with or are at lest using the same bit depth and
Follow this advice from Apple
Apple ProRes Codec Visible differences (1st gen.) Quality headroom
ProRes 4444 Virtually never Very high, excellent for multi-gen. finishing
ProRes 422 (HQ) Virtually never Very high, excellent for multi-gen. finishing
ProRes 422 Very rare High, very good for most multi-gen. workflowsSo if you plan to swap your shots around between multiple workstations and users because you are doing heavy VFX or Color Grading work outside of color…. or you’re going to be doing things like output for digital cinema go for it.
of course if you were doing those things, I’d encourage you to use a Alexa or a Red.
Just my opinions… let the personal attacks on credibility commence
Richard M. Harrington, PMP
Author: From Still to Motion, Video Made on a Mac, Photoshop for Video, Understanding Adobe Photoshop, Final Cut Studio On the Spot and Motion Graphics with Adobe Creative Suite 5 Studio Techniques
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Look at the original question that started thus thread. Do you think your suggested workflow us right for him?
Not saying HQ irrelevant. Just not an issue for DSLR originated.
Richard M. Harrington, PMP
Author: From Still to Motion, Video Made on a Mac, Photoshop for Video, Understanding Adobe Photoshop, Final Cut Studio On the Spot and Motion Graphics with Adobe Creative Suite 5 Studio Techniques
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LikeI said…. Look at Interpret Footage command in AE… loop is in there
And like said below… SWF is NOT an authoring format
Richard M. Harrington, PMP
Author: From Still to Motion, Video Made on a Mac, Photoshop for Video, Understanding Adobe Photoshop, Final Cut Studio On the Spot and Motion Graphics with Adobe Creative Suite 5 Studio Techniques
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To further explain Native Editing
1. In FCP… can import H.264 straight and do a cut down to determine which soundbites you need, b-Roll, etc. Assembly sequences. You can then use media manager on this.
2. In Premiere Pro, Avid MC5, Sony Vegas – You can import and edit material WITHOUT transcoding. You can work with the material in a more robust color space, add effects, etc.
Personally, I do #2… working in Premiere Pro for DSPr material. I then send out an FCP sequence with media (via XML export) and go to Apple Color at 422 if needed. Sometimes we just Color Correct with Premiere Pro or Color Finesse in AE.
As of this writing… the ability to record out the HDMI port is not really there, so writing 4:2:0 then trying to bump it up to a beefier format is really not going to go very far.
If you were shooting a photo as a JPEG, then you converted to a Photoshop or DNG, you just wouldn’t get the same flexibility as shooting in a camera raw format. I’m not saying to master back to H.264 (which would be like opening a JPEG and saving a JPEGH out – more compression than wanted).
I hope this gives clarity… Lance feel free to start insulting me again.
Richard M. Harrington, PMP
Author: From Still to Motion, Video Made on a Mac, Photoshop for Video, Understanding Adobe Photoshop, Final Cut Studio On the Spot and Motion Graphics with Adobe Creative Suite 5 Studio Techniques
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Lance..
You say stick to writing books like I don’t actually make video for a living. I have spent a long time creating video and working with formats. I also am pretty good add analyzing tech and testing things thoroughly.
In fact I was one of the first 10 people picked by Apple to be certified as an instructor for FCP.
Converting footage shot on a DSLR to HQ or 4444 is a waste of time and disk space.
If you’d like to prove otherwise… feel free to run the tests I have… put the stuff through scopes… analysis and more.
Of course… I guess I don’t really know what I’m talking about. Writing 28 books, producing 4,000 podcasts and managing 7 years of NAB conferences…. I guess I just do video as a hobby these days.. Oh wait… I run a production company.
Don’t be such an ass.
Richard M. Harrington, PMP
Author: From Still to Motion, Video Made on a Mac, Photoshop for Video, Understanding Adobe Photoshop, Final Cut Studio On the Spot and Motion Graphics with Adobe Creative Suite 5 Studio Techniques
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If you run out of RAM… explore Disk Cache options
Richard M. Harrington, PMP
Author: From Still to Motion, Video Made on a Mac, Photoshop for Video, Understanding Adobe Photoshop, Final Cut Studio On the Spot and Motion Graphics with Adobe Creative Suite 5 Studio Techniques
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Scale and position
Render with a codec that has an alpha (Animation, ProRes 4444, etc)
If it LOOPED in your 3D app and you just have a looping clip… then go under the interpret footage item and specify number of loops
Richard M. Harrington, PMP
Author: From Still to Motion, Video Made on a Mac, Photoshop for Video, Understanding Adobe Photoshop, Final Cut Studio On the Spot and Motion Graphics with Adobe Creative Suite 5 Studio Techniques
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You are confusing the output of the HDMI with the resolution of the panel on back
Richard M. Harrington, PMP
Author: From Still to Motion, Video Made on a Mac, Photoshop for Video, Understanding Adobe Photoshop, Final Cut Studio On the Spot and Motion Graphics with Adobe Creative Suite 5 Studio Techniques
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422 HQ is OVERKILL.
422 is more than adequate for material.
With that said… I typically edit native and only transcode finished sequence to 422 (if then)Richard M. Harrington, PMP
Author: From Still to Motion, Video Made on a Mac, Photoshop for Video, Understanding Adobe Photoshop, Final Cut Studio On the Spot and Motion Graphics with Adobe Creative Suite 5 Studio Techniques