[Rosie Walunas]

Is there a way to batch this? Like batch add a custom clip naming convention to the clip name in Log and Transfer?

[Rosie Walunas]

Hi again Shane. Sounds like the company had planned for an upres to ProRes 422 from ProRes LT as an offline to online workflow. I just came across your tutorial on how to do this with log an transfer.
https://library.creativecow.net/ross_shane/tapeless_online/1
I haven’t had to do this with FCP7 before with log and transfer (just Avid). My initial question is, do you have to check that “delete unused media from duplicate items” box? I ask because if it so happens they need to go back to the cut or project I still want the company to have the complete ProRes LT media originally imported and readily accessible. And I’d like for the online upres seq to only include what is in the cut to log and transfer back in at ProRes 422 or HQ. Is my question clear? I don’t want to delete anything just recapture what’s in the current cut at ProRes422 or HQ.

Thanks.

[Rosie Walunas]

Well, I just read this post about the AF100 color space. I had no idea it wasn’t 422! And DSLR I can understand is okay at LT.
https://www.thefilmmakersworkshop.com/movie-cameras/panasonics-ag-af100/

But I know the C300 is natively 422. So there has to be some degradation on the image, right?

[Rosie Walunas]

Really? Not according to this layout. It seems ProRes LT is lesser quality than just 422. I’ve always been under this impression assisting editors. For DSLR maybe there’s not much of a difference, but there has to be for C300 and AF100 material?

https://www.larryjordan.biz/picking-the-right-version-of-prores/

“ProRes 422: This is the format I recommend for anyone shooting DSLR, HDV, AVCHD, XDCAM EX, XDCAM HD, AVCAM, or P2. Great image quality, with file sizes 30-35% smaller than ProRes 422 HQ. Since the DSLR images start as H.264, which is already quite compressed, ProRes 422 most closely matches the original image quality.

ProRes 422 LT: This is the format to use if you have tons of footage, need to edit using smaller (i.e. less storage space) hard drives, or are going to go thru an off-line to on-line process.”

[Rosie Walunas]

To get an update on this, is anyone smoothly running FCP7 installed on a new machine that started with Mavericks? A project as big as one would be working with while cutting a TV doc program? I’m still hearing mixed reviews from people. Thanks.

[Rosie Walunas]

The duration is different, that’s why I’m concerned.

[Rosie Walunas]

I followed this tutorial ( https://www.larryjordan.biz/compressor-up-res/ ) as well as ran some tests with a setting that looks great in Compressor, but I am one frame off every time with the SD to HD (one frame off) clip.

Thoughts?

Is this problematic?

Things seem to look okay but I’ve also been staring at the same images for too long.

Thanks.

[Rosie Walunas]

I’m about to take on this procedure, but realized that there might be an issue. I have a lot of disolves between audio and it think it would be a good idea to include the audio in the transcode/uprez. So will I have to delete all my dissolves and redo all of them? Or is there a better way to handle this? And would I have to account for my handle duration based on the longest dissolve that I temporarily delete.

I hate to have to redo the work I’ve done…

Thanks

[Rosie Walunas]

Great, thanks.

What about trashing the renders? I have a bunch of renders from the HD sequence from normal effect rendering and where the SD clips are located. Should I delete all the renders before doing the first consolidate of the SD clips and do a fresh render when the SD transcoded to HD clips are in? I especially bring this up because I noticed that on a few of my SD clips after editing and playing around with them for so long, rendering and re-rendering, there is a glitch in the rendered clip as if FCP did a poor job rendering a small portion of it in the sequence, but the actual clip is totally fine, if that makes sense.

Thanks again.

[Rosie Walunas]

I understand how to take the SD clips offline – bu I don’t want to transcode the entire tape – just the clip portions I use in the FCP timeline. How whod I do that?