[Sean Oneil]

Two dollars:
https://www.monoprice.com/products/product.asp?c_id=102&cp_id=10212&cs_id=1021201&p_id=438&seq=1&format=2&style=

Sean

[Sean Oneil]

[Michael Belanger] ”
Can we assume that once footage has been successfully digitized with Pro Rez that there is no further requirement to used a Mac Pro? Is the strain on the CPU consistent throughout the usage of this codec or only during digitizing?”

No. Decoding is also pretty hard on the CPU. Not as bad as digitizing, but I wouldn’t count on Edit To Tape with HD ProRes using a non-Intel Mac.

Sean

[Sean Oneil]

Thanks. Someone at Blackmagic got back to me. I guess they screwed up and made all their ProRes Easy Setups 8-bit.

[Sean Oneil]

Cool, look forward to it. But shouldn’t this discussion go in the Final Cut forum?

[Sean Oneil]

I’m having the same problem. This is really bad.

[Sean Oneil]

Okay I figured it out. After doing the upgrade, Compressor 3 remembers your old Compressor 2 default destination. But the destination is corrupted. You need to throw it away and create a new one.

[Sean Oneil]

John,

Eli is right. There’s something wrong with naming in version 3. I’m trying to figure it out right now. It’s really screwed up.

[Sean Oneil]

Yes I tried that setting. In fact its 2:3:2:3 by default.

Unfortunately it has no effect on the situation.

[Sean Oneil]

[CharlieX] ” these sounds like the exact same issues I deal with daily in FCP5. Field ordering problems, pulldown issues, scaling issues between formats. “

You’re right. But the difference is that FCP5 never claimed to support mixed formats. The rule of thumb was “Buyer Beware”. But now FCP6 tells a different story, yet the results are the same. In fact it seems the only thing they did was unlock the RT Extreme restrictions for mixed formats. Other than that, it behaves exactly the same as version 5 (except the addition of a 486/480 scaling bug we’ve been talking about).

To be fair, I think they did know what they were doing for the most part. Despite my assumptions, it does scale things properly. And there is a setting to pick what kind of pulldown you want in the “System Settings” and the default pulldown method is 2:3:2:3 like it should be. Unfortunately it doesn’t actually do anything – at least not on my Dual G5. So these problems appear to be bugs, rather than poor design intention.

Guy, yes I sent my feedback. I hope others do as well.

[Sean Oneil]

Gary & Jeremy,

Hate to say I told you so, but it looks like Apple agrees with me. I tested it out and I was wrong in my assumption. Final Cut 6 does indeed downconvert HD clips to 480 lines – regardless if the sequence is 486 or 480 (which this errant user believes to be the proper way).

I took a 1080i ProRes clip and threw it on two different sequences. One was a ProRes NTSC 486 sequence. The other was DV50 which of course is 480. Both had anamorphic checked.

In both instances, the clip was scaled exactly to exactly the same dimensions. “44.44%” under scale, and “18.52%” under distort. On the ProRes timeline, the height of the clip appears to be 6 lines shorter than the full frame.

I copied and pasted clips from one sequence to the other to double check. They are identical in scale.

Also, if the source is 1080p, it centers it. But if it’s 1080i, it offsets it by one line (like it should because 1080i has upper field dominance). That got me wondering why another poster here said it doesn’t do this when transcoding between 480 and 486. That poster was wrong. It does do the offeset. However, he was right about the fact that it scales it. Place a 486 clip on a 480 sequence and it scales it to 98.77% (and looks like crap of course). This is obviously a mistake on their part so hopefully they’ll fix it.