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Re: transcoding XF-AVC to ProRes - 7 years ago

It may be worth trying Canon XF Utility 2.1, a free download, to save the clips in your computer and then to see if other software, hopefully Resolve, can open them. Then you can convert them to ProRes .mov files. Dennis Couzin Berlin, Germany

Re: "this computer will soon stop receiving google chrome updates because" RE: FCP7 - 7 years ago

QuoteWanted Man 10.8.2 OS ... My FCP7 is currently working perfectly on my current OS. I don't find FCP7 to work perfectly on any OS after Lion. This is detailed in my last two posts in a recent strand: Does Wanted Man's 10.8.2 system not show the playback defect in the FCP canvas with 1920x1080 50p ProRes422 clips? Dennis Couzin Berlin, Gemany

Re: FCP 7 Render Manager will not delete render files - 7 years ago

Thanks Aliya, for teaching me about FCP7 Render Manager. For many years I've been using Finder to remove old render files. As Nick says, it does the job. However it frequently does the job too well, so I discard render files that I need, and then must re-render. With Render Manager, the current render files for each sequence within the currently open project are distinguished from the obs

Re: What is the last version of MAC oS X which works [well] with FCP7? - 7 years ago

As described in the just previous post, FCP7 has a ugly playback defect under OSX Mountain Lion which it does not have under OSX Snow Leopard. Independently, I had a controller card that was working poorly with OSX Snow Leopard and well with OSX Mountain Lion. So I tried OSX Lion, in between, for the one-quarter chance it would solve both problems. Hurrah! Now I've tested FCP7 under Snow

Re: What is the last version of MAC oS X which works [well] with FCP7? - 7 years ago

As reported in a 2013 strand, FCP7 rendered about 15% faster under 10.6.8 than under 10.8.3. So I stayed with Snow Leopard until now, when some hardware is needing Mountain Lion. Clearly FCP7 "works" under Mountain Lion, but I see an ugly defect in playback in the canvas. The video is 1920x1080 50p ProRes422 and it contains very rapid intercutting. Random horizontal bands are ap

Re: What is the last version of MAC oS X which works with FCP7? - 7 years ago

QuoteLoren Miller, 3 October 2015Geez, I just have to have professional codecs! Any gotcha's, folks? I wanted ProRes XQ. It requires Mountain Lion, but should otherwise work with FCP7 and the old Compressor. The ProApps 2.0.3 update, if you unpack it, does seem to contain ProRes XQ, but this update did not make it accessible to FCP7 or Compressor. A nice weblog from Matthias Aderhold descri

Re: Mixed Format project: Upres or Downres? - 7 years ago

Adam Wilt wrote an extremely good explanation of 24p vs 24pA recording with DVX cameras. Before reading it I didn't know that DV compression of interlaced material is frame based, and in consequence every fourth frame -- frame C in Wilt's example -- of the 24 frames per second is compromised in the 24p DVX. So the reverse telecine from 24p DVX will have poorer quality than 24 frames extracted f

Re: Mixed Format project: Upres or Downres? - 7 years ago

We shot a 70 minute documentary in DV25 720x576 50i which looked decent on a very large screen, BUT the whole film was shot the same. When you intercut your native 1920x1080 with blow-up 1920x1080 the difference will be obvious. The problem for you is aesthetic: will your documentary incorporate enough hodgepodging of sources so as to make the shifts in quality acceptable or even interesting?

Re: Exporting Pro Res in Log mode? - 7 years ago

QuoteJoe RiggsWell, no one really answered my question on that site Not true! Post #5 on that strand said: "You could technically use a Lin -> Log LUT to provide a simulation of Log". That's the wrong LUT, but the right idea. Post #23 described the right LUT: "As an experiment, I took an Alexa LogC ProRes 4444 clip, and created a Rec.709 ProRes HQ file from it. I then took my

Re: dcp and leaders - 7 years ago

BabaG: I don't get it. If you want the countdown leader to be projected then include it at the beginning of the DCP. If you don't want the countdown leader to be projected then what do you want it for? Countdown leaders had a function in cinema projection. QuoteHow Movies Work by Bruce F. Kawin, p. 126 At the head of each reel is a strip of film with numbers that count down, usually to 3, cal

Re: Exporting Pro Res in Log mode? - 7 years ago

Joe's question was well-answered in a forum for colorists. Dennis Couzin Berlin, Germany

Re: Greenscreen spill - general question - 7 years ago

Re: What is the last version of MAC oS X which works with FCP7? - 7 years ago

It depends on what installer you have. See , et seq. See also . Also et seq. Dennis Couzin Berlin, Germany

Re: Conforming HD scanned film to 1920x1080p - 7 years ago

I'd use Compressor and choose Best for the Resize Filter the Frame Control pane. The added processing time is slight and the image is noticeably better. If Compressor's Geometry pane is baffling, remember: the input image area minus its crop is mapped onto the output image area minus its padding. Dennis Couzin Berlin, Germany

Re: How to identify project timeline - 7 years ago

If this question is asking what sequence settings a new timeline (sequence) in a project starts with, this is not decided by the project. It is decided by the FCP7 preferences. It's set in Audio/Video Settings, Summary tab, Sequence Preset. Then it applies to new sequences opened in all projects. For any timeline (sequence) you check its settings by looking in Sequence > Settings. I

Re: 4K in FCP7 ? - 7 years ago

Mike, the earlier comment was "but horrors: the colors changed between stopped and running -- gamma increased." Increase of playback gamma makes the displayed image darker (excepting full black and full white which don't change). We're both seeing that. On my system the canvas shows the 4K with correct color is when stopped. The color looks very wrong when running. I'd estimate t

Re: Any service shops that can convert an old FCP Studio2 (FCP6) into an EDL for Preimeire Pro - 7 years ago

The XML (not the little EDL) that FCP7 exports from a sequence does show whether a file is connected or not. If it is connected there is a "path" data line after the "name" data line. If it isn't, there's just the "name" data line. There's no other difference in the XML's. So, you can bring your old FCP6 project file to anyone with FCP7 (or probably FCP6) and g

Re: 4K in FCP7 ? - 7 years ago

I just confirmed that 4096x2160 25p ProRes422 plays easily in FCP7 when the source file is on a single external HDD using eSATA connection. Activity Monitor shows the disk reading at 68 MB/s. (The gamma shift during run is unpleasant.) When you edit a double exposure, you must render it. I'm in a do-it-all-at-once environment where we never use proxies, but it could be appropriate where c

Re: 4K in FCP7 ? - 7 years ago

Mike, the HDD, the eSATA enclosure, and the eSATA adapter all matter. I just clocked the continuous read speed from a Seagate Enterprise NAS 4TB HDD in a Delock 42406 eSATA-only enclosure at 136 MB/s and 128 MB/s depending on the PCIe card. You're very unlikely to fail with eSATA to make the needed read speed. Dennis Couzin Berlin, Germany

Re: 4K in FCP7 ? - 7 years ago

According to Apple's White Paper, 4K 24p ProRes 422 runs at 63 MegaBytes/sec. That data rate is iffy with FW800 connection to a decently fast hard disk drive. 30p at 78 MegaBytes/sec is practically impossible. These data rates are easily achieved with an eSATA connection. However, 4K ProRes HQ is iffy. I'm greatly committed to eSATA. But if you have just a few eSATA hard drives, and no

Re: blue bar no more - 7 years ago

Thanks Nick. I just had to select "Show Overlays" in that drop-down menu. (It results in a bit more overlays than desired.) Dennis Couzin Berlin, Germany

blue bar no more - 7 years ago

Until recently my FCP7 canvas showed a blue bar along the right edge of the last frame of a sequence. No more. Can FCP7 break in this wee way? Or did I inadvertently change an FCP setting? Or...? Dennis Couzin Berlin, Germany

Re: Need to provide client with an FCP file small enough to email' - 7 years ago

It's in the nature of H.264 compression that 4x4 blocks are handled efficiently, but how inefficiently the left-overs are handled can be due to the particular encoder. Not all codecs handle 4x4 blocks efficiently. If the codec wants 8x8 blocks then the puniest 16:9 resolutions are 128x72, 256x144, 384x216, 512x288, ... If the codec wants 16x16 blocks, they're 256x144, 512x288, ... Dennis

Re: Need to provide client with an FCP file small enough to email' - 7 years ago

Hiker forgot to give the length. For each length there is the question: at what resolution to make the compression? If length is X minutes, and the email attachment limit is 15 MB, the bitrate must be kept under 2000/X kbps. No choice there. I checked three examples: 8 minutes, 20 minutes, and 40 minutes. For 8 minutes the bitrate must be kept under 250 kbps. For 20 minutes it's 100 kbps.

Re: What format to use? - 7 years ago

Shane is right that the render should be done in this case, because it will show if there are any bad surprises. Dennis Couzin Berlin, Germany

Re: What format to use? - 7 years ago

Export "Using QuickTime Conversion" is a dog. Instead of using that, go into to your Sequence Settings and change the video "Compressor" to ProRes 422 HQ. A red render bar will appear. Choose highest quality Video Processing and Render Control settings, but it is not necessary to do the render. Then export: "QuickTime Movie", selecting "Current Settings&quo

Re: FCP Blur effect? - 7 years ago

It's an old movie. All they could do in optical printing was to defocus and overexpose, and then use high contrast to sharpen the new fuzzy image into a blob. Defocus is a kind of blur caused by the image light going off target. Overexposure is another kind of blur caused both by more light creeping laterally through the emulsion and by halation -- light traversing the emulsion and bouncing of

Re: 2.5inch Raids & 4k - 7 years ago

eSATA and USB3.0 connections are both plenty fast enough for carrying two or three strands of 4K 30p in codecs up to ProRes 422 HQ (but not in 444 or 444 XQ). PCIe cards are readily available for eSATA and USB3.0. The pinch comes with the hard drive's read speed. Assuming electro-mechanical hard drives, four or so in RAID 5 can read fast enough for those two or three strands. The RAID box c

Re: 6 channels in one track - 8 years ago

The clip offered for download is an example of what I want. The clip has one audio track containing 6 channels. The terminology is confusing. I didn't invent it! For example, one might start with six mono WAV files. Import all six into Audacity. Then in Audacity set the Import/Export preference to: "Use custom mix". Remember to set the Project Rate (Hz) to match the import.

Re: 6 channels in one track - 8 years ago

Andrew: QuickTime 7 "Movie Inspector" describes the desired audio as "6 Discrete Channels". Better, QT Edit describes the desired audio like so: Track 1: Display Name: Sound Track Format: 16-bit Integer (Little Endian), 6 Discrete Channels, 48,000 kHz Track ID: 1 ... Then Track 2 is the video, and that's the whole .mov file. VLC Player's "Media Information&q