Spencer Averick
Forum Replies Created
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I think you can command click and drag them around right in the viewer.
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Set the video codec to H.264, change the data rate to 2500 and you can keep it at 1280×720.
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Yes maybe put your multiclip on V2, and the line cut on V1. That way you can be cutting your multiclip and muting it on and off to check which angle the director selected. Or lower the opacity so you can constantly see it?
If your 4 streams of ProRes stutter on multiclip playback, maybe think about compressing them all to Proxy for an offline edit, then reconnect them after the edit.
Also a warning for you- if the situation arises that the linecut is perfect for stretches at a time and it doesn’t need to be recut at all, you still need to match cut it using the iso cams. In other words, don’t ever deliver any piece of the linecut in the end.
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Andy, you’re probably exporting at 5,000 Mbps, not Kbps. 1Mbps = 1000 Kbps.
Export a 45-min ProRes Lt movie from Final Cut Pro with “Export as QuickTime Movie”. This is a huge file.
Bring that QuickTime into compressor, apply these settings and it will probably be about a gig and look great:
-H.264, 1280×720, current frame rate, 1000 KBPS
I would say test different compressions from 700kbps to 1500 Kbps and see what your sweet spot is for file size and quality. Anything around 1000 should look good and be under a gig. And definitely do the longer 2-pass compression.
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It’s just the one extra “layer”. You can’t ever see it because it’s invisible, you can only see it in action. If I have a ProRes HQ sequence in FCP of a guy being interviewed, and a graphics guy creates an animated lower third that flys in, he will create a ProRes 4444+ file that I can just add right on top of the video.You can use it for graphics like that or just for very high end data rate video delivery.
It’s a hi data rate video that has the option to add an alpha channel if need be. The alpha is the (+).
But like Shane says, if you’re editing a RED show you don’t want to edit in 4444 (especially with your laptop).
If you’re going to the big screen, compress the R3D files to ProRes Proxy or LT for editing, then a colorist will link back to the original RED files before coloring and delivering.
If you’re editing a RED show for TV or Web or something, you can probably compress, edit, color, and deliver all in ProRes HQ.
As far as the green render bar, I’m not exactly sure why but you’re right it’s always like that no matter what in FCP with PR444. Always have a green render, probably because it’s just a massive file. -
Very strange. I’ve definitely had this happen before when I copy and paste a 2997 sequence in a 2398, but if your frame rate has been consistent throughout I really don’t know!
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Yes should be okay in that case. What about the actual footage, when you check the original camera raw and the new prores, they’re both 23.98 or was the camera raw 2997?
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Your original h264 sequence and your new prores sequence, are the frame rates the same? Sounds like you went from 2997 to 2398 on accident.
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When you export from FCP you are just exporting as is without compression, no quality loss.
When you export from streamclip you are compressing into a smaller file, with quality loss.
Check your data rate when exporting from streamclip, this will control the quality/file size of your compressed file.
Fyi- not a good idea to edit with h264 files in FCP. Always convert your footage from that camera to ProRes LT before editing in FCP. -
If your ProRes footage matches exactly with your sequence settings and you still need to render, then either it’s a bug of some kind, something wrong inherently with that camera footage, or you accidentally adjusted a setting, like Edge Feather in the motions tab. Also check Render Control in User Pref to see if everything looks normal.