[Terry Flaxton]

Doug you’ve made me a happy man. If I can ingest pro res and get it out – all is well.

I moved everything to an SSD and things are now working fine – I got 8 x 4k layers flowing without a stutter.

Thanks for your help (and everyone else) often it’s asking the Right question to cut it all down.

Thanks again.

Made my first video in 1976, A long term programme maker, DP, editing etc – changing with AR/VR/MR media –

[Terry Flaxton]

Doug – spot on. I tried to say that I wouldn’t use H264 as it was designed as a display codec (if I had a choice that is).. So I start with 1920 x 1080 Pro Res 422 or 3749 x 2160 Pro Res 422. Then edit and manipulate – sometimes output a file at 4K 422 or even 4444 if I want an alpha channel then reimport and manipulate again. Eventually I want a 4K pro res 422 HQ. So if I’m fact any of this is dipping down to 264 – that’s be worrying. Thanks in advance – Terry

Made my first video in 1976, A long term programme maker, DP, editing etc – changing with AR/VR/MR media –

[Terry Flaxton]

Well thank you so far for answers – It may all be in my head but the proposal about using 264 is against everything I’ve ever done for this reason: H264 is a very compressed codec – a GoP structure which inherently means at best a display codec (and that was what it as originally designed for). Group of pictures leave out various frames and ‘Long Gops’ are the worst for colour and movement. 422 Pro Res is better – but it is still lossy (which is why you get choices). Yes they’re all based upon wavelet transforms as opposed to DCT’s but that can only do so much.

So casually going in and out of 264 is a problem because you’re trashing your quality each time you go in and out of it.

So: If I want to stay at least in Pro Res – how do I make FCPX stay true to the input codec? Is this about NOT optimising media?

Thanks in advance

Made my first video in 1976, A long term programme maker, DP, editing etc – changing with AR/VR/MR media –

[Terry Flaxton]

Hi and thanks for that explanation – so I input pro res 422 – so the thought of these being transcoded to H264 is a horror story straight off the bat. Fine if they’re reference fils to take instructions back to the original media – but having only in the last could pf years embraced FCPX I haven’t understood wht the under the bonnet stuff is and how it works.

Take a for instance: if I output a 4k pro res 4444 file and re-input it for use as a layer – does this really mean it’s been then taken to H264 for manipulation by FCPX – if that’s the case that’s killer because I have to screen at minimum 20 foot and up…

I realise I probably don;t understand this and am looking for simple structural understanding of FCPX – is there anything out there? To be frank it should just be a one pager because anything else would be the addendum to the fundamentals (i.e in case a such and such, in case b, such and such.

Thanks in advance…

Made my first video in 1976, A long term programme maker, DP, editing etc – changing with AR/VR/MR media –

[Terry Flaxton]

Thanks Oliver – I tried changing my question after I’d moved the library over to an internal ssd at 650 read and write (ish) no stutter: 4 layers of 4k using effects distortion grading etc.

Made my first video in 1976, A long term programme maker, DP, editing etc – changing with AR/VR/MR media –

[Terry Flaxton]

Thanks Warren – got it!

Thanks for taking the time and having the patience.

Best, Terry

Made my first video in 1976, A long term programme maker, DP, editing etc – changing with AR/VR/MR media –

[Terry Flaxton]

Thanks Warren – My assumption was that if I do a mix in FCPX and then playback the timeline I should be able to hear that output via optical out straight into an amp that accepts optical in. You’re saying not so – it’s got to come into a usb device (say like Behringer converter) to then go into a surround sound system (even though sound in preferences offers that optical out as an output?) – do I understand that correctly?

Terry

Made my first video in 1976, A long term programme maker, DP, editing etc – changing with AR/VR/MR media –

[Terry Flaxton]

Thanks! I’ll take this all on board – still a newbie after editing for 40 years 🙂

Made my first video in 1976, A long term programme maker, DP, editing etc – changing with AR/VR/MR media –

[Terry Flaxton]

Thanks Mark – I allowed myself some luxurious stupidity. I’ve taken far too long learning this system because FCPStudio was good up to HD. Premier always struck me as clunky compared with FCP Studio – I never liked Avid nor any of the sub editing systems. I then dabbled with 4k until now but it’s become pressing with 8k on the horizon. FCPX is far more powerful than FCP probably because it uses all cores, the architecture is not limited and soon everything will be 10 bit at least (I can’t stand 8 bit solarised skies) and next up rec 2020 and ACES…

So thanks for taking the time to respond.

I’ve start doing what you’re suggesting – and have a full mind (as I always did with FCP) as to storage, recognise the units that make up FCPX and as of right now I’ve moved all files into another drive and optimised and consolidated…

Thanks again – Terry

Made my first video in 1976, A long term programme maker, DP, editing etc – changing with AR/VR/MR media –

[Terry Flaxton]

PS – I know about moving library elsewhere – so I’m asking what protocol or route do I take to do this so that I don’t lose anything – plus, what do I then do to get rid of everything from the original location. I.E. give me a point by point if you can – thanks in advance for giving time foto someone who should really have read up on this before starting (my issue is exacerbated because everything I do is 4k and soon to work in 8k (and does anyone know how high the internal architecture can go in resolution terms and whether Rec 2020 can be used?)

Made my first video in 1976, A long term programme maker, DP, editing etc – changing with AR/VR/MR media –