[Tom]

A lot to consider, overwhelming, even.

Guess I have to take it one at a time…most pressing issue is simply trying to accomplish a small project right now – all the source files I have are animation codec QT’s.

When I import into FCP, they do not get transcoded into any other codec (M100 would transcode to M100 codec upon import, of course.)

This is where I’m confused – If I simply drop them into a seq, I get the warning dialog box that settings do not match seq. If I say “Yes, make seq match,” then seq becomes animation codec. Bad.

If I create new sequence with ProRes or Uncompressed as the codec, and drop an animation codec clip into, it is unwatchable, needs to be rendered. I’m sure that is not the workflow, to have to render every clip I bring into the seq (at least I hope its not…LOL) – Do I need to convert all these files to proper editing codec of choice myself BEFORE import into FCP (whereas M100 would just do it upon import…)?

(ALSO – diff between ProRes and ProRes HQ?)

Thanks guys…tons of help already – you’re forewarned that I’m going to be a thorn in your side for weeks to come, of course 😉

Tom

[tom] “1. Codec – What codec should I be setting my sequence to to “work” in? My workflow will (mainly) involve importing QT files in animation codec, maybe others (even H.264),”

Neither of these codecs are good for editing. you will get very limited realtime and H.264 is a finishing codec, not an editing codec.

8bit and 10bit are the Uncompressed SD codecs. Generally most people work in 8bit as 10bit is not necessary for 95% of their work.

ProRes is a high quality compressed format that is (in some cases) indistinguishable from uncompressed. It’s Apple’s answer to the Avid DnxHD codec (or something like that)

[Tom]

Thanks for the input, guys. Is there any advantage of Producer in a new Intel Mac over P6000 in expansion chassis in pre-dual core pre-Intel G5? (or vice versa?)

I’m talking speed, features, etc etc – Is it a no-brainer one way or the other, or 6 and one-half dozen?

(I very very occasionally still dump to beta sp via component, but most stuff firewire. Can producer be outfitted with an analog i/o box?)

Oh, almost forgot – does Producer now use a true uncompressed codec, or is it still M100 lossless?

Tom

[Tom]

Awesome…thank you very much.

I am working with NTSC – footage poorly shot w/ a 3ccd DV cam, and going to MPEG2 for DVD.

Will this affect what those starter settings, or what I am trying to do in general?

Thanks again,

Tom

[Tom]

Sorry, I just can’t resist.

This is like trying to drag an answer out of the engineer at the facility I work at. Obviously I’ll be “using my eyes” to determine if the settings are helping or hurting the footage, and certainly I know that there are no magic presets.

I do know that when you (and others who use M100, Compressor and care about their video levels) sit down and begin to tweak their B/C settings in the “filters” tab, you/they START with a number in brightness and a number in contrast. It it -50? +10? +14? I’m sure there are numbers that ONE STARTS WITH…and then tweaks from there. Naturally I realize that there is tweaking and judgement involved.

That is all I’m looking for…a starting point. I’ve read the manuals. I’ve scoured the archives. I’ve done test after test. My cpu has been “compresssing” for days now. Simply looking for a starting point.

I appreciate the thorough and lengthy articles that you’ve posted regarding B/C and gamma theory, and some day I will take the time to read them…but under these deadlines I am simply looking for that starting point from which to tweak.

If you are unable to provide those due to secrecy or the fact that “all footage is different and I never ever start with the same numbers,” then a million thanks for your efforts so far…I’m sure the articles will come in handy.

Sorry for any snippiness, just been working on this for a long time, seeing the light at the end of the tunnel, but the tunnel floor is covered in quicksand.

Tom

PS – BTW…Just as when one imports M100 footage to AE and adjusts input levels to 16/235 and renders with output levels set to 16/235, and that is done EVERY TIME REGARDLESS OF FOOTAGE, I find it hard to believe that once one finds satisfactory B/C adjustments in Compressor, that there is no reason they can’t be used every time, with judicious tweaking as one sees fit, but those settings, should, in theory, be able to be locked in stone. Its just a mathematical formula, no?…regardless of the “magic preset” being a myth or not.

[Tom]

“As i said previously you are only expanding from 16-235 to 0-255 you should be able to figure out some % change from those values.”

Well, Brightness/Contrast are each on a scale of -100 to +100. I don’t see how percentages derived from RGB 16-235 to 0-255 will correlate to individual B/C settings…? You mentioned lowering brightness and increasing contrast…but how are you “automatically” calculating their percentage equivalents to the 16-235 to 0-255 conversion? It seems like apples and oranges to me…

Tom

[Tom]

Thanks for the advice – certainly I will eventually take a look at Bitvice, and the general Brightness/Contrast tweaks are what I’ve been trying…

BUT – can’t help but thinking that the “Black/White Restore” could help, and still hoping for a few actual setting/numbers that people are using….I know some of you guys are using this and have to be having the same problems…

Is anyone restoring/tweaking their Blacks & Whites within Compressor?

Tom