XDCAM clips from a MAC to a PC

[David Esp]

Regarding the "Super-White" codec setting, I found an explanatory Apple Support article at Final Cut Pro: About Luminance, while elsewhere it has been stated that "when “White” is selected, is that it takes the RGB “white” value of 255, and converts it to 100 IRE. If you are working on something for broadcast, this is a must. If you aren’t, and don’t care, you can set the maximum white to “Super White”, and all your 255 RGB levels will be mapped to 109 IRE.".

From this it looks like the default "White" does an implicit mapping of 16..255 to 16..235. I assume this mapping is linear (as opposed to by clipping or roll-off), in which case the levels in general would appear darker than before the mapping. On the other hand "Super-White" maintains 1:1 i.e. 16..255 to 16..255 e.g. as I want for export of the un-range-altered footage e.g. to Sony Vegas where Color Curves etc. can be used to make any kind of mapping desired, e.g. splined (non-linear) "gamma in post".

Yet another nuance of transfer from one environment to another.

[Craig Seeman]

Or Drop 720p50 clip on new sequence of any kind and if it the clip doesn't match the sequenced settings you'll get this popup. Select Yes.

If you need to put the foot on the gas peddle you don't need to do deep sea oil drilling.

[Craig Seeman]

Follow my previous instructions and you do not need to enter this by hand but here's the settings.

[David Esp]

Craig,

Thanks for your "Make this very simple tip. That couldn't be made any clearer! That's indeed what I did with my EX footage. So I can't have got that wrong.

However my problem is not that but how to Export it as ProRes (as opposed to the "XDCAM EX" option in your image). On my system the XDCAM EX options certainly do include "720p50" but as I understand it, that is not ProRes, and when I try to Export it to ProRes (for use on a Windows PC) there is no ProRes option for "720p50".

[Craig Seeman]

???

you started with

I have FCP 6.0.5 also. For 1280x720, the existing settings (templates/profiles) have just about everything except 50p. That is, 24p, 25p, 30p and 60p.

Why do you want to export as Apple Pro Res?

Important rule when starting any project.
KNOW where you're going and why you're going there.
Then examine how to get there.

Apple Pro Res on Windows? Has the editor downloaded the Apple Pro Res for Windows code from Apple? If not, they will curse you using a doll and sharp needles.

Originally Posted by David Esp

Craig,

Thanks for your "Make this very simple tip. That couldn't be made any clearer! That's indeed what I did with my EX footage. So I can't have got that wrong.

However my problem is not that but how to Export it as ProRes (as opposed to the "XDCAM EX" option in your image). On my system the XDCAM EX options certainly do include "720p50" but as I understand it, that is not ProRes, and when I try to Export it to ProRes (for use on a Windows PC) there is no ProRes option for "720p50".

[Craig Seeman]

See AppleProRes1
Export/Quicktime Movie. Change Compression type to AppleProRes1280x720 50p
or
See AppleProRes2
Export/Quicktime Conversion
and then see AppleProRes3
Set Dimensions to HD 1280x720

How to do this is "newbie FCP 101" so I take it you've never used FCP before.

[David Esp]

Craig,

Sorry for the confusion. I could have established it more clearly at the beginning. If it's any consolation, as an uncertain FCP newbie, any reinforcement of confidence that I am doing the right thing even at the ingest level is still welcome.

Why do you want to export as Apple Pro Res?

I'm towards the end of a work-project. It requires multi cam editing support for combining cameras of different resolutions (HD, HDV, DV), whereas FCP multicam insists on consistent format. I have found by experiment that work-arounds such as up-rezzing everything to HD only to come back down to SD deliverable (unsurprisingly) loses detail. For this reason and a lack of comfort factor (so far) with FCP, I'm doing the main work in Sony Vegas under Windows (but need to use an FCP effect as explained next).

The last part of the project I'm working on, the Intro Sequence, has a tracking shot past a Formula 1 car. It was done by me being pushed along on a catering trolley. So its wobbly. I tried various windows-based deshaker tools (including Gunnar Thalin's, that I've used for years) but the only one that gave an unblemished glide past the F1 car was FCP's SmoothCam. So I needed a way to get deshaken/smoothed footage through FCP on the Mac back to Vegas on the PC (actually Boot Camp). Problems and uncertainties with that led me to Google for solutions, hence I ended up on this thread.

Has the editor downloaded the Apple Pro Res for Windows code from Apple?

Oh yes! I'm not that daft!

I take it you've never used FCP before.

Only in a short course and following some exercises from a book, neither of which involved any EX footage or ProRes, let alone 720p50. The multi-cam issue has limited my opportunities to use it as much as I wanted (most of my work is diverse multicam) but the SmoothCam is the smoothest I've ever seen. It's hands-on time now (in cracks between and opportunities within higher priority work). I am checking out tutorial videos also. And of course this forum - where I do help others as well when I am on firmer ground (e.g. the MacDrive tip).

Thank you very much for posting those latest instructions and screenshots for Exporting. I will have a go with them later (have to go off to a shoot now).

[Craig Seeman]

OK so you're in total control of the workflow. That makes more sense. You can do what's easiest for you without "outside world" concerns.

Take the effort to learn FCP. There's a plethora of training DVDs and books. It'll take you days to go through them though. I was an Avid editor with over 10 years on that so moving to FCP only took a couple of days to get a handle on the basics. That was back in 2001.

Apple Pro Res is a very good "almost" uncompressed format to work in.

Working with EX in FCP is easy. It can be handled in FCP "native" (rewrapped as MOV or even MP4 with CalibratedSoftware plugin). Just set Sequence to render in ProRes and there's no long GOP conform while working.

With your disparate sources, your "target" should probably dictate your workflow. If your target is Standard Def than you might consider doing everything in Pro Res in a Standard Def timeline in FCP. Not sure how FCP multicam handles different frame sizes even if the codec is the same though. My multicam are always matched cameras.