D7000 Final cut Pro
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+1 to matthew's post. When you drag a clip onto a new timeline, the program will ask if you want to change the sequence to match the clip.
However, if you copy paste from one timeline to a new one, it may not prompt you, and the files will need to be rendered. So make sure you are dragging a clip from the clip bin onto a new timeline that has no other clips on it.
However, if you copy paste from one timeline to a new one, it may not prompt you, and the files will need to be rendered. So make sure you are dragging a clip from the clip bin onto a new timeline that has no other clips on it.
prores 1920x1080p24 should work well including rt playback and fx. haven't tried it myself but that's generally how prores timelines perform. i wouldn't want to edit in h.264, too much loss of quality after rendering (if you're a power user and use fcp 6- you can edit in one and render to another, but that's beyond easy setups).
RT = real time playback. FX are video effects/filters.
I agree with mattsand that it may be a good idea to recompress everything to prores BEFORE editing. FCP definitely works more smoothly with prores than H264. Even so, I would use the method listed above to set the timeline to match the clips.
But if your computer is fast enough to edit in direct H264 (as it comes off the camera) then it's nice to be able to use the files natively without recompressing. Quality is not an issue - after editing, change the timeline compressor to the prores (or something else) and re-render or export.
I agree with mattsand that it may be a good idea to recompress everything to prores BEFORE editing. FCP definitely works more smoothly with prores than H264. Even so, I would use the method listed above to set the timeline to match the clips.
But if your computer is fast enough to edit in direct H264 (as it comes off the camera) then it's nice to be able to use the files natively without recompressing. Quality is not an issue - after editing, change the timeline compressor to the prores (or something else) and re-render or export.
On a i7 2.8 ghz quad processor.
If I drop the clips into the timeline, FC asks to change timeline to match clip I say yes. That would mean the clip is still in H.264 correct? How does it ever get to prores?
Also which prores there are a million of them Apple ProRes 422 1920x1080 24p 48 khs?
If you can edit smoothly this way, go for it. Then, before you render, duplicate the sequence (or not, it's not imperative), select the sequence (in the bin) then go to sequence/settings and change the codec to prores. Any prores will do - you pick it - I like HQ. They all offer tradeoffs of size to quality. Any one of them probably exceeds the quality of the original footage. Then force a render (option-r) and you now have a prores sequence.
Or, instead of changing the codec of the timeline, exprt the movie "using quicktime conversion" and pick one of the prores codecs.
The advantage to recompressing the files first to prores, and then editing with them is that your editing process (particularly moving backward through the timeline) will be smoother and snappier. Also, there will be some real time effects and dissolves. Theoretically editing in h264 is better quality (because you won't double render your effects) but the difference will be minor.
Or, instead of changing the codec of the timeline, exprt the movie "using quicktime conversion" and pick one of the prores codecs.
The advantage to recompressing the files first to prores, and then editing with them is that your editing process (particularly moving backward through the timeline) will be smoother and snappier. Also, there will be some real time effects and dissolves. Theoretically editing in h264 is better quality (because you won't double render your effects) but the difference will be minor.
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I am using FCP 6 on a 2006 era PowerPC G5. It has 2.5 gigs of ram and is sufficient for editing HDV, XDCAM, etc. but when I went to edit native H264 off my D7000, it was really slugglish, choppy.
I'm trying to follow the conversation in the thread about transcoding. What is my workflow for transcoding the native H264, and, hopefully getting better performance when for RT/editing...?
Here is how I understand it:
I import the raw footage into FCP, create a ProRes timeline, then render all of that? If I do that, how do I avoid having to re-render frequently when editing? E.g. - Working with cuts in multiple layers of video, etc. I'm trying to avoid render times every time I simply move a cut.
I'm trying to follow the conversation in the thread about transcoding. What is my workflow for transcoding the native H264, and, hopefully getting better performance when for RT/editing...?
Here is how I understand it:
I import the raw footage into FCP, create a ProRes timeline, then render all of that? If I do that, how do I avoid having to re-render frequently when editing? E.g. - Working with cuts in multiple layers of video, etc. I'm trying to avoid render times every time I simply move a cut.
You should use compressor to batch convert all of your clips. Load them all into compressor and output Prores with all of the same settings as the originals.
Then edit with those clips. After you import the prores clips into FCP, drag one into a new sequence and the sequence will set itself to prores (if you answer yes to the question). The prores clips will give much more real time functionality and won't require render as long as the sequence and the clips share the same settings (which they will, as long as you answer yes to that important question).
Then edit with those clips. After you import the prores clips into FCP, drag one into a new sequence and the sequence will set itself to prores (if you answer yes to the question). The prores clips will give much more real time functionality and won't require render as long as the sequence and the clips share the same settings (which they will, as long as you answer yes to that important question).
Yup.
while i often convert prior to editing i think its better to use a prores timeline even with native clips. prores timelines are realtime anyway, you can put dv clips or whatever in it, and anything you render will become prores rather than rendered to hdv, h.264 or whatever long gop format you originated in. good luck.
Could the conversion to Prores be done in MPEG Streamclip?
no, which is my whole point. prores timelines are realtime regardless of what you drop on them.