Shane Ross
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[Matt Campbell] “c300mkII 160mbps XAVCHD vs. ProRes 422 147mbps off Atomos Shogun.”
XAVCHD is 8-bit, long-GOP. ProRes is 10-bit intraframe. ProRes is superior…but also has a larger file size. But it is superior.
[Matt Campbell] “Is it even worth it to use an external recorder like the Atomos Shogun to record ProRes 422 or 422HQ from a camera like this?”
Yes. This would make the files easier to deal with on edit systems…would cut out any transcoding that those systems would do if they couldn’t handle the XAVCHD format (long form this tends to be an issue).
[Matt Campbell] ”
So, is there a benefit to using ProRes with an external recorder or just keep use the native codec?”Less compression, superior color space.
Shane
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[Brian Seegmiller] “Lance, what are those feature films?”
Now, I’m not Lance, but I’ve worked with him at NAB…
FOCUS…2015. Will Smith movie
Whiskey Tango Foxtrot…2016. Tina Fey filmBut it should be noted that both films had the same editor, Jan Kovak
Shane
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Having been dealing a lot with Runway lately myself…they onlined a feature doc I cut, I am aware of the small things they do to save time. You were smart to go with them.
Shane
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We are in different fields, you are short form, I am long form. So I don’t have to deal with what you do. I can see how that’s a huge time saver for you though….
Shane
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I know what you are talking about. And that really takes no time at all. Maybe 15 min if you go slow about things. So if FCX takes 5 min, and Avid takes 15…heck, 20. Not sure how much money is saved in 10-15 min.
Shane
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[Charlie Austin] “Sure, if the tracks are all set up correctly, and everything is split correctly, and the sequence is set up correctly etc. In X none of that matters, only that Roles are set up correctly.”
What’s to set up? you get the audio stems from the audio mix and drop them into their prospective tracks. Would be comparable in time to setting up each stem with a ROLE.
Because the audio mix is not happening in Avid…and I doubt that it happened in FCX on that feature. Unless that is one of those details that saved money…no ProTools or LogicPro or DAW mix…
Shane
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[Darren Roark] “Such as? “
How did using FCX save so much money over the other NLEs? What specifically did you avoid spending money on that you would have been “required” to with the other NLEs?
Basically…HOW did this save money…what was done with FCX that the others would have required more $$ to accomplish?Shane
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[Michael Hancock] “You mentioned that exporting a master file with 16 channels of audio per studio specs is easy in FCPX – maybe that’s a lot more time consuming in Avid or Premiere and would have cost them an extra day in post. That could easily be a couple grand in savings right there! “
No, that takes no time additional time. Export SAME AS SOURCE in Avid and you can use the Direct out option and it comes out fine. No extra time there.
Shane
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[Lance Bachelder] “So a Producer who had never worked on a real Indie would naturally freak out seeing their show cut on a laptop with $300 software. “
that producer must have their head in the sand…you can cut a feature on a laptop running Avid. And that would not cost you much more than FCX on a laptop. There was a recent twitter post about a guy cutting a pixar movie on his laptop on a plane and the editor’s seat mate seemed unimpressed. And I use my laptop all the time with Avid/Premiere/Resolve.
Not sure what cost savings they had, as mentioned, the price difference between all the NLEs and the hardware they use it negligible anymore. It’s no longer the $65,000 Avid vs the $1200 FCP (plus hardware). Now things are very close.
Shane
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Yeah, that’s VERY VERY sluggish. it must be highly compressed or something. Definately transcode. It’ll take less time to do that than it does trying to play this thing.
Shane
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