Currently Being ModeratedFeb 26, 2013 10:08 AM (in response to hoehneb)
Just to make sure you understand this; Using qmaster with compressor ONLY works if you've exported a selfcontained quicktime from fcp and brought that into compressor. It does not help (and will often cause the job to fail) if you use it when you send to compressor from within fcp or use a reference (non-selfcontained) quicktime.
Currently Being ModeratedFeb 26, 2013 10:20 AM (in response to Michael Grenadier)
Indeed, that is what I'm doing. My issue is that, even when this is done, the rendering still takes quite a while.
Another thing, however, is that the actual "export to quicktime movie" usually takes couple of times the length of the actual video. Any way to speed that up? I'm willing to recompress the original video into another format using MPEG Streamclip or some other such program, if it cuts time out of my total workflow. I'm consdering getting another computer when I have the money, but that's not an option right now. More RAM? Is 5GB enough?
Currently Being ModeratedFeb 26, 2013 11:18 AM (in response to hoehneb)
Make sure everythiing is fully rendered in FCP before you export. Sorry, the only thing that speeds up renders is faster processors.
Then export a self contained file.
Then, if you are compressing to H.264, CompressHD from Matrox.com will speed things up. But ONLY H.264 encodes. Turbo.264 from Elgato will too. Again, only H.264s
How are you expecting MPEG STREAMCLIP to help by encoding to something first? Is the footage you are editing NOT an FCP codec, like ProRes? You mention AVC files in HD. Are we talking AVCIntra (P2) or AVCHD? And did you convert that media to ProRes for editing? Or are you trying to edit those native?
Currently Being ModeratedFeb 26, 2013 11:55 AM (in response to Shane Ross)
Shane, thanks. I was worried that I'd need to get a faster processor someday. I suppose I'll wait for the next generation of Mac Pros, which rumoured to be more than just an incremental leap in speed like recent generations.
I might try out the Turbo.264 product. Looks inexpensive.
What I'm thinking of using MPEG Streamclip for is rendering into a more FCP friendly codec like Apple Intermediate when its not and/or rendering clips with different codecs to match. Like many folks, I have a whole suite of different codecs to work with (I've got six different types of cameras in my department). I usually don't mix and match, but sometimes that's necessary.
The files that come off my DSLR are H.264. The files that come off my Canon H1a are HDV 1080i60. I have a few small cameras that come off AVC. And, finally, there's a few that pull off the camera as Apple Intermediate.
Given this, whatever strategy with MPEG Streamclip (or the software that you suggested) to make things run the most efficiently is what I'm looking for. For instance, if I have two different resolutions, for instance, should I re-encode one of the two to match, or would that just be a waste of time? Or If I have two different codecs, should I re-encode to match? Or, which codec should I chose to make things run most smoothly? Would proRes be best? This sort of thing.
Currently Being ModeratedFeb 26, 2013 11:54 AM (in response to hoehneb)
So you are telling us that you currently have NOT converted those files in your project to ProRes? You are editing H.264 mixed with HDV (HDV is fine in FCP...it has a codec for that)...mixed with AVC (unconverted) and then some as AIC (which is also fine...that's an Apple codec)??
Yeah...THAT is your problem. The workflow you are currently using is what you'd do if you were using Adobe Premiere. Edit native, then encode to your final format. FCP doesn't work that way. You MUST...must must must must MUST...convert ALL of your footage to an edit friendly codec before editing. That means convert to ProRes. All those H.264 files, all the AVC files. If the DSLR is a Canon 7D or 5D...you can use Log and Transfer if you install the EOS Log and Transfer plugin. I have a tutorial for that process here:
This also works with AVCHD...most tapeless formats actually.
>For instance, if I have two different resolutions, for instance, should I re-encode one of the two to match, or would that just be a waste of time?
Not a waste of time...good practice. Unless you are mixing 720p with 1080p...you dont' need to. But if you are mixing SD and HD...good to convert the SD to HD. Mixing frame rates? Yeah, you must convert that...Compressor does a good job.
>Or If I have two different codecs, should I re-encode to match?
Yes....uniformity is good. But, if you capture HDV native via firewire, using that on a ProRes sequence with other ProRes footage...fine. It'll work in real time without rendering, and you can just render when you are done editing and it will be fine. But yeah, all those tapeless formats need to be ONE format....one codec.
>which codec should I chose to make things run most smoothly? Would proRes be best?
Currently Being ModeratedFeb 26, 2013 12:03 PM (in response to Shane Ross)
Thank you Shane, that was very helpful. My DSLRs are a Nikon D7000 and a D5100 (my main workhorse right now, great, cheap, camera). Do you think I should convert Apple Intermediate to ProRes?
Currently Being ModeratedFeb 26, 2013 12:04 PM (in response to hoehneb)
AVOID APPLE INTERMEDIATE! That is a highly lossy format. ProRes is better. And yes, with those cameras you need to use MPEG STREAMCLIP
Currently Being ModeratedFeb 26, 2013 12:34 PM (in response to Shane Ross)
Thanks, Shane. As you can tell, I'm somewhat new to this "deep level" stuff. I'm mostly an editor and work with whatever I've got, but have been taking on more of the nuts-and-bolts lately on my own.
Do you have a recommendation for the best workflow for converting those H.264 files to ProRes given what I've got?
Currently Being ModeratedFeb 26, 2013 12:39 PM (in response to hoehneb)
Knowledge about getting footage into an editing application should be HIGH on an editor's list. Editors are no longer just people who come in and edit footage already converted, captured and imported. More often than not it is now up to us to capture and import the footage. So this is something you need to learn and know. That "deep level" stuff is no longer deep. It is part of the normal knowledge editors must have. The nuts and bolts are part of our job.
Compressor has presets you can drag and drop...althought it renames the clips to add the setting to the name, but you can customize it so it doesn't do that. Or you can use MPEG STREAMCLIP to convert to ProRes....as mentioned.
Currently Being ModeratedFeb 26, 2013 12:49 PM (in response to Shane Ross)
Again, thanks. I know I'm diving into a deep pool, but I'll get there. Sometimes its hard to know what things you need to learn. I think you've gone above and beyond in helping me out. (Oh, and great tutorial, just finished watching it.)