[Ryan Holmes]

Here’s a handy web app that calculates your resolution after inputting your horizontal and vertical aspect ratios (2.35:1) and at least one of your resolution variables (either height or width):

https://www.csgnetwork.com/pixelratiocalc.html

It’s for those of use not as smart at the maths as Ann! 🙂 But Ann’s formula is doing exactly the same thing as the calculator I linked to (only difference, I can bookmark a link).

Ryan Holmes
http://www.ryanholmes.me
@CutColorPost

[Ryan Holmes]

[Claire Panke] “I was under the impression that I needed to have HD footage to use the ProRes422 Codec.”

Nope. ProRes codecs work in SD, HD, and 4K resolutions. You can use ProRes for this project if needed.

Ryan Holmes
http://www.ryanholmes.me
@CutColorPost

[Ryan Holmes]

10.6.8 is the last official and stable OS for FCP 7 (I think FCP was at 7.0.3 at the time).

I’m running 2 Mac Pro’s with 10.7.5 and FCP 7.0.3 with no problems (I’ve heard many people running 10.8.X or 10.9.X as well), but 10.6.8 is the last official OS.

Ryan Holmes
http://www.ryanholmes.me
@CutColorPost

[Ryan Holmes]

Do I have this right?

So you shot at 60fps, edited at 60fps, slow-mo clips were at 60fps, and delivery is 24fps?

Ideally you’d have shot the majority of your work at 24fps, edited at 24fps, clips you’d like to slow-mo would’ve been shot at 60fps (and then conformed to 24fps using Cinema Tools, creating a smooth and seamless slowmo – know as over cranking), and then your delivery would be at 24fps.

In your question, you’re going to take 60fps and attempt to reduce it to 24fps. Depending on what/how you shot this will have varying levels of success. I don’t know that either way you listed is better than the other. Likely just try them both and see what results you get. Which I think is what my colleague is saying with his post: [Steve Eisen] “Wrong workflow!”

If you want to see what 24fps looks like, then shoot your events at 24fps.

Ryan Holmes
http://www.ryanholmes.me
@CutColorPost

[Ryan Holmes]

[Paul Carlin] “Am I stuck with scotch tape on my camera display as the only solution?”

Masking (or scotch) tape is still the most efficient method. You may check and see where Magic Lantern is with hacking the 7D. I know they made some progress recently for RAW recording on the 7D (but remember, that ML is unsupported firmware, and could potentially brick your camera – user beware!).

Ryan Holmes
http://www.ryanholmes.me
@CutColorPost

[Ryan Holmes]

Yes. There are already presets built into Media Encoder for 1080p h.264 mp4 files. Use one of those to get you started (I’m assuming you’re running at least CS6 or Creative Cloud).

You must be aware of the “Level” you’re set at. I believe 1080 encoding result ion needs to be set on at least Level: 4.0 or higher. Otherwise, you’ll get an error.

Ryan Holmes
http://www.ryanholmes.me
@CutColorPost

[Ryan Holmes]

[C. Edward Brice] ” I try to get out on both QuickTime and h.264 and try multiple settings. Nothing works.”

You need to be more specific than this if you want better help. What is your original footage comprised of (resolution, codec, etc)? What are your timeline settings? What settings are you using on export? Saying that you used Quicktime and h.264 and it didn’t work is kinda like me saying I had food last night and didn’t like it (well…what kind of food – Italian, American, etc, how was it prepared, where’d you buy it, etc). You need to unpack your statement more for this forum to be of any help.

Ryan Holmes
http://www.ryanholmes.me
@CutColorPost

[Ryan Holmes]

It shoots to a Quicktime using the Motion-JPEG codec. Most modern NLE’s (FCP X, Premiere CC, Media Composer 7) should handle that without problems, but you may want to transcode to a mezzanine codec like ProRes or DNxHD if you plan on handing off for vfx, color grading, or finishing work.

Ryan Holmes
http://www.ryanholmes.me
@CutColorPost

[Ryan Holmes]

[walter biscardi] “I’d also love to see Transcode / Consolidate come along for the end of a project. Been asking for that one for two years now and hopefully it’ll come along soon.”

[Chris Borjis] “Would be great if premiere had them as well…one consistent set of useable scopes”

+1 for each of these. But I think Walter’s right that Adobe won’t unveil any bombshells. The move to the subscription model means they don’t have to hit these arbitrary show deadlines in order to drum up orders for the next version. Adobe will release the next .X update as it’s built out. However, I’d expect them to tease some upcoming features while at NAB.

Ryan Holmes
http://www.ryanholmes.me
@CutColorPost

[Ryan Holmes]

You should take a look at Audition. It’s Dynamic Link abilities with Premiere Pro would allow you to move to a more traditional audio program and utilize your AU plugins while making the roundtrip workflow pretty seamless.

Ryan Holmes
http://www.ryanholmes.me
@CutColorPost