Sequence settings in FCP for 100mbit at DVinfo.net

Go Back   DV Info Net > The Tools of DV and HD Production > External Video Recording Solutions > Convergent Design Odyssey

Convergent Design Odyssey
...and other Convergent Design products.


Reply
 
Thread Tools Search this Thread
Old February 23rd, 2010, 10:49 AM   #1
Regular Crew
 
Join Date: Jun 2009
Location: Arica-Chile
Posts: 41
Sequence settings in FCP for 100mbit

Hi everyone

I just Received my nanoflash, i use it with my ex1, and editing material under FCP, what are the sequence settings recommended for editing, some reading tells me to use xdcam hd 50mbit 422 easy setup leaving the render codec to default which would down sample the footage to 50 mbit and the other option is to choose the same easy settting changing the render codec to prores.

could you please share your experience. and final results the idea is to obtain the best quality.
Julio Veas P. is offline   Reply With Quote
Old February 23rd, 2010, 11:01 AM   #2
Major Player
 
Join Date: May 2006
Location: Teaneck, NJ
Posts: 659
Yes. The only sequence setting is XDCAM HD 4:2:2 50Mbps at whatever frame rate you have shot. FCP will recognize both long gop and i-frame footage shot at any data rate. However, it will render at 50 Mbps.

CD has been saying that 100Mbps long gop is the "sweet spot"

Congrats on the new Nano.

Ned Soltz
Ned Soltz is offline   Reply With Quote
Old February 23rd, 2010, 11:08 AM   #3
Regular Crew
 
Join Date: Jun 2009
Location: Arica-Chile
Posts: 41
but does it help setting the render codec to prores i.e. if you are using color to grade the footage and you are sending it back an forth between FC and COLOR or is it an unnecessary step.
Julio Veas P. is offline   Reply With Quote
Old February 23rd, 2010, 08:37 PM   #4
Major Player
 
Join Date: Sep 2008
Location: Vancouver, Canada
Posts: 975
Julio's question is of interest to me as well. I am wondering when you send material from FCP to Color assuming you are doing the correction work exclusively in Color, if the material goes over in it's entirety to Color or if the material is prerendered down to 50 bit.

Color is set up by default, I believe, to render in basic Apple ProRes 4:2:2. The whole point behind the thinking of most (I assume) using a nanoFlash is to have the extra headroom allowing for pixel changing and smearing while maintaining a lot of detail, luminance and so on.

My instincts tell me that if I am doing stuff for "broadcast" I should be changing the source material to Apple ProRes basic or HQ out of the shoot before doing anything in FCP so it retains as much of the source data as possible through the production process.

I know this question has been addressed before by a few but the arguments I heard were not fleshed out enough to be conclusive in my view.

Has anyone done any experiments paying attention to "scope" data seeing if there is validity to the idea of using a less lossy codec (or one that doesn't lop off data upon render) from the start or used more scientific methods to determine if we should be altering our workflow to maintain the broadcast goodness of the source data?
Andrew Stone is offline   Reply With Quote
Old February 23rd, 2010, 08:41 PM   #5
Major Player
 
Join Date: Sep 2008
Location: Vancouver, Canada
Posts: 975
Julio about the settings on the nanoFlash... it would help, first, if you mentioned what frame rate you typically shoot in.

Me I often shoot in 1080p30 or 720p30. If you tell us what you shoot in, it would be easy to give you the settings for typical use of the nanoFlash with your EX1.
Andrew Stone is offline   Reply With Quote
Old February 24th, 2010, 06:09 AM   #6
Regular Crew
 
Join Date: Jun 2009
Location: Arica-Chile
Posts: 41
Thanks for the answer Andrew, I shoot Always 1080p30 and the nano set to 100mbit with Psf enabled.
Julio Veas P. is offline   Reply With Quote
Old February 24th, 2010, 05:18 PM   #7
Major Player
 
Join Date: Sep 2008
Location: Vancouver, Canada
Posts: 975
The most essential setting at this point would be to set your timecode to "Rec Run"

and then on the nanoFlash to

Code:
Set System->Timecode->Source to “LTC”
so the nanoFlash is slaved to trigger to be in "record mode" when the timecode in your camera is advancing.

I turned the power saving mode on the LCD ("Auto LCD Off") as it appears to give more run time to the batteries.

The rest I would simply experiment and see if you want to record in iFrame versus LongGOP, etc.

You should become completely comfortable with all the settings within a week of using the unit. It is extremely well thought out and most things in it are self evident.
Andrew Stone is offline   Reply
Reply

DV Info Net refers all where-to-buy and where-to-rent questions exclusively to these trusted full line dealers and rental houses...

Professional Video
(800) 833-4801
Portland, OR

B&H Photo Video
(866) 521-7381
New York, NY

Z.G.C.
(973) 335-4460
Mountain Lakes, NJ

Abel Cine Tech
(888) 700-4416
N.Y. NY & L.A. CA

Precision Camera
(800) 677-1023
Austin, TX

DV Info Net also encourages you to support local businesses and buy from an authorized dealer in your neighborhood.
  You are here: DV Info Net > The Tools of DV and HD Production > External Video Recording Solutions > Convergent Design Odyssey

Thread Tools Search this Thread
Search this Thread:

Advanced Search

 



Google
 

All times are GMT -6. The time now is 08:24 AM.


DV Info Net -- Real Names, Real People, Real Info!
1998-2017 The Digital Video Information Network