Frage von Streamer:
Hello together,
HD as a newcomer and of FCS FCE just changed, I must now material capture. Was with a Canon XH A1. Which codec is the right one? DVC PRO HD 1080, ProRes422 or ProRes422 HQ?
Lots of disk space and A fast 8-core is available.
Thanks for your help!
Streamer.
Antwort von Streamer:
If there is someone interested in Final Cut Pro 6 is a great tool. As has been done since last time I was working with moving image. Anyway, the solution to my problem:
Only everything natively in HDV captured:
It works like this: Create a ProRes 422 timeline, 1920 × 1080, 23.98 frames per second. Start assembling your HDV footage into it. Oops! The first time you try to do s.edit, Final Cut will throw up a dialog box: "For best performance your sequence and External Video should be set to the format of the clips you are editing. Change sequence settings to match the clip settings? "
See, what Final Cut Pro is doing here is Noticing that you're trying to edit HDV footage into a ProRes 422 timeline, and double-checking that that's what you really mean to do. Would not you rather edit HDV footage into an HDV timeline like a sane person? It's nice of Final Cut to ask, but in this case, no, we really want to put our HDV footage into a ProRes 422 timeline. Seriously. (If you mess with your preferences, you can tell Final Cut not to ask any more, and just let you edit whatever into whatever. I do not do this. I like being reminded that my sequence is set up differently from my footage, just in case that's the one time I do not want that.)
Anyway, tell Final Cut "No thanks, I really mean to do this," and start editing. Notice something interesting: You do not have to render anything. You can play back HDV footage on a ProRes 422 timeline without rendering. Even without turning on Unlimited RT. And it plays perfectly, s.full resolution, without dropping a single frame. Hell, you can even do this on a MacBook. Not even a MacBook Pro; a plain old MacBook can pull off this trick. It can scale and distort HDV footage (which has a native 1440 × 1080 frame size and a non-square pixel aspect ration) into a 1920 × 1080 timeline with no trouble whatsoever. It's awesome.
So what happens when you lock picture and decide to put on your logo and credits? Same thing. You just edit them in. Final Cut does not care. It'll just play the footage back when you mash play.
But when you go to export, that's when the magic happens. On export, Final Cut will convert your whole show to the format of your timeline. It'll render out all those scale-and-Distorts, and encode the whole show into ProRes 422, writing it out to your frame store. Quoted of: http://theshapeofdays.com/2008/03/23/what-an-open-format-timeline-is-and-isnt.html
