Shane Ross
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How about the things that FCP 7 did, and did well, but were left off of FCP-X, and never re-added. Amazing things like:
– Log and Transfer…where you could preview the footage, mark IN and OUT on it, THEN import it. That way, you didn’t need to import the full clip if you happened to have cameras that shot hours of nothing. This saved a lot of time and space.
And this not being part of FCP-X really boggles my mind…
– The ability to consolidate a cut (project, sequence, whatever) so that you have ONLY the footage used in that sequence, with some handles. Right now I’m being handed a 2 hour project cut on FCP-X to be onlined in Resolve and I’m getting an 8TB drive for this. Why? Because the edit only uses 10 seconds of a one hour clip, but can only consolidate that full clip, not just the section used. And I’m talking hundreds of clips…so that really adds up. Yeah, you can manually do that, but BOY, will that take forever.
So, two very useful things that FCP 7 did that FCX does not. To be fair, there isn’t ONE NLE that does that first thing…bring in only the footage you want with IN and OUT points. ALL the NLE’s do all or nothing. So odd to lose that ability.
And I agree on the committing the multicam angle. First off, that would save a LOT of space when consolidating the cut for online. Because not only will I get that angle with the 1 hour interview clip where I only use 10 seconds…but I’ll get the other angles too. And then Resolve doesn’t view the compound clips well, and I need to manually commit each shot.
Shane
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What steps are you talking to import? Source Browser is the way to go with this…navigate to the files and LINK.
Wait, PICTURES? Do you mean VIDEOS?
Shane
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What is the model of the AJA converter? And why the converter? Doesn’t the mini have SDI inputs? I’ll have to dig mine up.
Shane
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As a colorist, I either want ProRes HQ, ProRes 4444, DNxHR….or the camera masters. NOT uncompressed.
Shane
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[raju bhai] “Given the HDV parameters of the footage i stated above, do i still need to convert to Prores to edit in FCP7?”
No. FCP 7 will edit HDV just fine, and you can export a ProRes full scale QT in the end.
[raju bhai] “And if so, should i keep all the original parameters of my source footage or should I change the frame size, etc?”
Keep the original everything. Drop a clip into a new sequence and let FCP make that sequence match the clip settings and use that. Then export ProRes in the end
[raju bhai] “My project is going to have footage not only from the canon HV-30, but also HD footage shot on a Samsung s9+ phone. So i would need to settle on a sequence setting of the best frame rate, frame size, etc to accommodate these different source materials.”
OOOOOOOHhhhh…. IN that case…Edit on a ProRes 422 1920×1080 sequence. Frame rate to match the majority of the footage.
Shane
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It is possible, and with the exact same keyboard shortcuts. “I” for IN, and “O” for OUT. Works just like it does in Avid. Keyboard basics are the same….J-K-L and I-O.
Shane
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They are completely different systems. Different frame rate, different frame size.
UNLESS YOU ARE TALKING HD…then both are 1920×1080, or 1280×720, or 3840×2160…and the thing that differs is the frame rate.
Interlaced PAL is 50i. Interlaced NTSC is 60i.
Progressive PAL is 250. Progressive NTSC would be 30p.
BUT…then we get confusing over here because we also have a 23.98 (24p) format that’s a film frame rate, so things look more film like. And we shoot that format and deliver that format and that format will play on the web and in theaters. BUT…when it goes to air, the 23.98 is converted to 59.94i (60i)..as over the air is always 29.97 interlaced. Web can be 29.97p, 23.98p…25p…60p…. but always progressive.Shane
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[Olivier Prudhomme] “Now I get that 23.97NTSC = 25PAL”
It doesn’t. I said it doesn’t. There is no 23.98 NTSC format. NTSC is a standard definition format…720×486 at 29.97fps interlaced. And I don’t know what you are trying to say by “=”….it doesn’t equal. Different frame size and frame rate, so it doesn’t equal it. 24fps does not equal 25fps.
[Olivier Prudhomme] “But doesn’t 29.97p also = 25pPAL”
No…again, 30fps vs 25fps…not equal. And different frame sizes. So I don’t know what you mean by “=”
[Olivier Prudhomme] “We often refer to “29.97i”…. which in fact should be 59.94i since it has 2 fields/sec, right?”
This is the confusing part…because many people say 29.97i, many others say 59.94i. They mean the same thing. 30fps video, interlaced. Not TRUE 30fps…but slightly slower due to technical issues. But they mean the same thing.
[Olivier Prudhomme] “If I am right then 29.97i NTSC is 59.94i NTSC = 50i PAL, right?”
Sorta…I’m still REALLY CONFUSED by what you mean by “=”.
Shane
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[Emma Bright] “1080p mostly. Sometimes 4K but not currently.”
1080p…OK, that’s the frame size. What CODEC? Many codecs are very processor intensive (AVCHD, MP4) and require a lot of system resources to manage.
Shane
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