The August 2010 Mac Lineup

There are more choices now than just the “you have to get the fastest Mac available” approach when purchasing an editing sytem for Final Cut Studio. If you don’t need PCI expansion cards (like AJA, Blackmagic, or Matrox), then you don’t have to pony up for a MacPro. MacPro’s are great machines….very fast, very expandable, but can get very expensive. If you are a DV only shop, the last three generations of iMacs are actually more than capable systems. The MacBook Pro laptops give incredible speed and portability, just not as much expandability.

I highly suggest the 17” if you are considering the MBP as an edit system. Not only do you get a bigger screen from the start, you also get the ExpressCard for more expansion options (additional FireWire ports, SxS card compatibility [and SDHC with an adapter], eSata access with adapter [for more storage options and the new Matrox/AJA offerings]).

Way too many new users of Final Cut Pro are griping about having to constantly render clips in their timeline. Rendering a sequence clip just to playback that clip points to a codec issue. Though Final Cut Pro 7 (and version 6) support Open Format Timelines, you must use codecs that are natively supported by Final Cut Pro to enjoy hassle-free (AKA more real-time) editing. This nirvana can be achieved by prepping your footage before ingest.

Native Codecs

Below is a chart of codecs that are native  to Final Cut Pro:

Simply ingest (capture/transfer/import) material of this type, then drop the resulting clips into a sequence set to one of the native codecs (via Easy Setup or by choosing Yes to the conform sequence settings dialog).

The Open Format Timelines feature of FCP 7 (and FCP 6) allow you to mix and match these native codecs within a sequence.

Non-Native Codecs

When working with a non-native codec, some pre-ingest prep is necessary. Some codecs, such as AVCHD, can be transcoded to a native codec via the Log and Transfer function. Some other cameras, such as HDSLR and inexpensive HD cameras (like Flip) record in the .avi or .mp4 file format. These files should be transcoded to a native codec before importing them into your project.

One solution is to use Compressor:

1  Launch Compressor, then drag your raw, source media files into the main Batch window at top left.

2  Select all source files in the batch by pressing Command-A.

3  In the Settings window below the Batch window, type “prores” into the search field.

Which codec to use is a cause for pause. You choose the ProRes setting that matches the desired quality and file size, but there is a catch. The Apple ProRes settings here simply “Pass-through” the audio while transcoding the video. If your camera did not record 16-bit, 48kHz audio, then you will be rendering the audio in the Timeline for every clip. To fail-safe this process, do the following:

4  Select the desired Apple ProRes setting.

5  Click the Duplicate Selected Setting button.

6  With the new copy selected, go to the Inspector to change the Audio from Pass-through to Enabled.

7  Next to the pop-up you just changed, click the Audio: Settings button.

8  In the Sound Settings dialog that appears, set as shown below then click OK.

9  In the Inspector, you may rename the Setting to describe the new audio setting. For example, “Apple ProRes 422 for Progressive 48kHz.” Change the Description if desired.

10  Drag the desired Apple ProRes setting from the Settings tab to any one of the selected source files in the Batch window. All of them will receive the dragged setting.

The default Destination setting creates the new transcoded files in the same folder where the original source files are located (Source). If you wish to change that location:

1) Select all source files by pressing Command-A, if necessary.

2) Choose your desired Destination from the Target > Destination menu.

(Select Choose from the Destination sub-menu to select an non-listed location.)

11  You may change the file name for the new transcoded files for each clip if desired.

12  Click Submit in the bottom right of the Batch window.

13  In the dialog that appears, click Submit. You do not need to name or change any setting unless you can utilize a QuickCluster.

14  You may monitor the batch processing’s status in the History window.

When the files are completed, warning icons may appear next to the source files. You may ignore those as they indicate the file names exist.

15  Quit Compressor and import the new transcoded files into Final Cut Pro.

If you are using Final Cut Express, iMovie or just some really strange source file that  QuickTime is not opening, try transcoding with the FREE program MPEG Streamclip (www.squared5.com), which does have batch processing capabilities.

If going to Final Cut Express or iMovie, choose Apple Intermediate Codec:

For Final Cut Pro, you may also choose a flavor of Apple ProRes:

Note: For either choice, set the audio rate to 48kHz in third Sound pop-up menu.

A bonus tip to enjoy more real-time editing is to set your sequence to Unlimited RT. This setting opens up Final Cut Pro to drop quality if necessary during playback to achieve more real-time performance. By default, choosing the Unlimited RT setting DOES NOT affect any of the Share, Export, Print to Video, or Edit to Tape functions.

And a disclaimer:

It is possible to edit H.264 (.mp4) files natively in a sequence. Import the .mp4 file into Final Cut Pro, drop the clip into a blank sequence and choose Yes to conform the sequence. The clip will play in real-time but the audio may need to be rendered. This is an OK solution as long as you are not adding clips of a different codec, any graphics/text, or plan on doing any effects. So if you really want to edit, transcode it first to ProRes.

If you like this Part 1, prod me along at bboykin@creekmountain.com to create Part 2 to Stop the Bleepin’ Beeping.

I don’t care for using Save As because media files are saved in your Capture Scratch by the project file’s name at the time of Capture/Transfer. And, the media is NEVER moved to follow the project file’s name change when you perform a Save As. The result, you end up with required media spread across multiple project folders. Eventually, this will lead to media mismanagement.

Where I do suggest doing “Save As” is to keep backup copies of your project file during various phases of a project to a different location…AKA fire insurance. But you don’t have to use Save As for this safety practice. When I’m working on a project over a couple of weeks, I’ll finish my daily sessions by saving my project in FCP, quitting FCP and then in the Finder, copying the FCP project file to a flash drive (which then goes into the fire safe) and/or my MobileMe account (which is offsite of course). I end up with a daily series of backups at the ready if those we don’t speak of decide to make my life miserable and crash my drive.

The New Features that do not apply to FCP 6 are:

Timecode Viewer window (p17)

The new flavors of Apple ProRes…4×4, LT and Proxy (p50)

Automatic Naming and Transfer in Log and Transfer (p53)

A couple of new keyboard shortcuts (p89 and the Appendix)

Global Transitions (p97)

Alpha Transitions (p102)

Modify>Change Speed (p116)

—FCP7 has vastly improved making speed changes. If your workflow

involves making lots ‘o speed changes, you need FCP7.

Speed Tool (p117)

Speed Keyframes in Timeline (p119)

Speed Keyframes in Motion tab (similar to FCP6, but has been improved) (p121)

Share (p159)

—Share is a new way to export utilizing Compressor presets. For FCP6, you need to choose

File > Export > QuickTime Movie, choose Current Settings and Make Movie Self-Contained,

then take the resulting file to Compressor for transcoding.

Markers List as Text (p167)

—If your workflow involves Markers, you need FCP7.

Colored Markers (p185)

Rippling Markers (p189)

Match Frame a Subclip (p190)

As there are 202 pages in the book, that leaves many pages of great material to reference when using Final Cut Pro 6 (or even 5).

This original part the FCP code was written to expect 29.97 or 30 fps. So in interacting with QT which is based on “frames” and not seconds said that when a freeze is made for 10 seconds, pull 300 “frames”. Going deeper, QT actually does something deeper than frames…QT uses a default time scale of 600 units per second.

Later on in development, FCP started using other timebases and the code didn’t get updated for the freeze frame feature. Because now when you make a freeze frame on a clip (or seq) with a freeze time set to 10 seconds, FCP looks at the QT file and pulls 300 frames, But if the clip is 23.98, the result is a clip that is 300 frames long but a duration of 12:12 which is 300 frames.

So,

If the clip is 29.97, you get 10:00

If the clip is 23.98, you get 12:12

But…If the clip is 29.97, but you make a freeze frame of it in a 23.98 sequence, you get 12:12 Why? Because clips are forced to match the timebase (fps) of the sequence. FCP on the fly forces the clip to match.

Again, I’m not a coder, but that’s what logic my editor brain has come up with.

For more information, click here to jump to weynand.com.