Comments on: SPEAKING OF MIXING FORMATS…

By: THE ONLINE FROM HELL…IS OVER. - Little Frog in High Def

THE ONLINE FROM HELL…IS OVER. - Little Frog in High Def — Mon, 23 Nov 2009 22:42:46 +0000

[...] ONLINE FROM HELL…IS OVER. Nov 23 EDITING, FCP To start off…read this post to see what the details were for the online I was doing. These are the INITIAL details. It got [...]

By: Jon Chappell

Jon Chappell — Sat, 07 Nov 2009 01:13:22 +0000

If FCP can’t keep up it will just crash. So embedded Motion projects, long GOP footage, etc, are more crash-prone for this reason.

By: Strypes

Strypes — Fri, 06 Nov 2009 21:11:38 +0000

Makes sense too. Available storage, amount of footage is definitely one deciding factor when contemplating the workflow. There’s ProRes LT these days, which I would use in a heartbeat if I’m on FCP 7- convert to ProRes LT facilitate the offline cuts, switch back to original XDCAM footage and transcode the final edit to ProRes for finishing. The biggest pain with long GOP formats is the waiting time during exporting.

By: Rob Imbs

Rob Imbs — Fri, 06 Nov 2009 14:28:39 +0000

I’d shoot myself in the face, It’d be a fitting reason for an editor to take his own life

By: shaneross

shaneross — Thu, 05 Nov 2009 21:02:24 +0000

Well, we would have done that, but with 2.5TB of XDCAM footage, converting would take a LOT more time, and a LOT more space. From 16GB for 1 hour, to 63GB for one hour. 5 times the size.

I’ll convert only what needs to when the picture locks.

By: Strypes

Strypes — Thu, 05 Nov 2009 20:52:30 +0000

Set render codec to ProRes? That lets you render what you need to render to ProRes, but gives you full quality playback (grey render bar).

I worked on XDCAM EX recently, and for half a day I was working off an XDCAM EX timeline with renders set to ProRes. I was working off a MBP, not much issues, but working in ProRes sure was more responsive, and allowed me to scan through the interviews at double speed. Yea, I transcoded everything to ProRes at the end of day one. It made more sense to transcode it, partly because everything will be going round trip to AE for keying, and also because it’s a rather tight turnaround, and I didn’t want to have to wait for the XDCAM footage to render/conform for all the offline exports I had to do. Transcoding is done overnight on a Mac Pro, so it doesn’t hold up post time.