Sequence settings in FCP for 100mbit at DVinfo.net

Julio Veas P. · February 23rd, 2010, 10:49 AM

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.

Ned Soltz · February 23rd, 2010, 11:01 AM

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

Julio Veas P. · February 23rd, 2010, 11:08 AM

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.

Andrew Stone · February 23rd, 2010, 08:37 PM

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 · February 23rd, 2010, 08:41 PM

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.

Julio Veas P. · February 24th, 2010, 06:09 AM

Thanks for the answer Andrew, I shoot Always 1080p30 and the nano set to 100mbit with Psf enabled.

Andrew Stone · February 24th, 2010, 05:18 PM

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.

February 23rd, 2010, 10:49 AM	#1
Julio Veas P. 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.

February 24th, 2010, 05:18 PM	#7
Andrew Stone 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.

February 23rd, 2010, 11:01 AM	#2
Ned Soltz 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

February 23rd, 2010, 11:08 AM	#3
Julio Veas P. 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.

February 23rd, 2010, 08:37 PM	#4
Andrew Stone 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?

February 23rd, 2010, 08:41 PM	#5
Andrew Stone 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.

February 24th, 2010, 06:09 AM	#6
Julio Veas P. 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.