Tom Brooks
Forum Replies Created
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Done.
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Yes, I found that, but, like you, I see no way to make it work. A search of previous posts on this forum retrieves a few other hits about the subject and confirms that the manual is baloney. Blatant false statements like that are rare, however. Hope for it in the next version of FCP. Moving a range of keyframes is similarly frustrating.
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[John Pastuch] “I went into media manager, tried copying the files, but it seems it only lets you open it up in a new project- does this mean I have to copy each clip and reinsert it into my sequence manually, or can media manager just replace the existing clip with the “optimized” clip? Or did I make another huge mistake?”
In Media Manager you would recompress the clips into a format that is RT enabled in Final Cut. Media Manager would create a new project and new media but the sequence would be intact. You’d then start working in the new project. I’m not sure that’s the way you should go.
You need to find out exactly what is amiss with the bad clips before you proceed. Look at all the properties of a clip–frame rate, dimensions, compressor, etc. Which of those is causing it to be non-standard? Without knowing that, Media Manager could give you weird results.
I seem to recall seeing that error message on a DV clip that was not 720×480.
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Is real-time playback of HD ProRes guaranteed from Quicktime? Final Cut has its ways of making it happen, but does Quicktime alone? If the computer can’t decode and display all those HD pixels fast enough, you will have frames dropping and all sorts of havoc with sync.
My guess is that Quicktime alone does not have the power to play that content at full frame rate and that this is normal operation.
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Looks like the manual is just plain wrong in this case, although I’m using FC 6, so results could be different in 7. As far as the “drag and poof” method goes, the Delete Point tool is faster and easier.
If all the keyframes are within a single clip on the timeline I suppose you could razor blade on each side, remove attributes/audio levels, and then set a matching key frame on each end.
If it spans many clips it would involve exporting and reimporting as a single clip. Personally, I wouldn’t consider that a workable solution.
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Yes, After Effects can render internally at 8, 16, or 32 bits. You get better quality–especially on gradients, blurs, and the like–at the higher bit depths. Since ProRes is a 10-bit codec, it makes sense to render AE at 16 bits. If you start at the default 8-bits, you’re sacrificing quality before you ever get to ProRes at all. Does that make sense?
Search AE help under “color depth” to get a more technical explanation and more links.
The setting for AE is in the menus under File/Project Settings. It does take more time to render at higher bit depth, so it’s wise to use only as much as you need for the job. Also, some AE filters do not work at higher than 8-bit. It will warn you if that happens.
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Should Matt change his AE output renders to ProRes 422 (and set AE project/color bit depth to 16-bit) in order to take better advantage of the 10-bit color depth of ProRes?
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I’d start with the big things that can be easily overlooked. Big differences in render time may be caused by:
Render Settings (found in sequence settings/video processing and render control)
Settings on Motion project items on the timeline (set in the View menu in the Motion project)
Number of items to render (Perhaps render files did not move from one system to the other.)
Frame size and frame rate mismatchesIt’s not usually caused by major system problems in my experience, but could be. I’d look for subtle differences in settings first.
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Just as a start for your information search, check out Microsoft’s HD samples and take a look at the System Requirements. That should give you an idea as to what’s needed to play HD Windows Media.
https://www.microsoft.com/windows/windowsmedia/musicandvideo/hdvideo/contentshowcase.aspx