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Calling all Mac/Final Cut Pro X users

I can't fathom what the problems are, while in Iceland I was editing on a MacBook Pro old 17in. with 16 gigs ram and a 1 terabyte SSD and 4 terabyte SSD external....no stuttering even on that low end machine...I've not had stuttering using FCP-X. What frame rates are you capturing with?

30fps. Before converting to Prores playback for me stutters in Quicktime and FCPX. If I playback in VLC its fine. I have a similar specced Macbook Pro to you
 
stutter can be caused by a card that's too slow, a slow drive, a fragmented drive or running out of ram. Clean my Mac or Memory clean can help with the ram issues

Thanks but its none of those things in my case. If it was I'd have this problem when editing footage from my GH4 which is far more processor/ram hungry than the stuff the H produces. I think its a specific problem with how Apple Quicktime based apps are handling the codec Yuneec use.
 
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Well, I've never had any of the issues you're describing in FCP-X...I get no stutter..when is the last time you removed preferences or reloaded FCP-X...? I do get crashes particularly when I use it for doing titles which has nothing to do with topic at hand since by then everything is rendered but most of the time I use After Effects for those...it also never happened with anything out of a GoPro....can't understand why you're going thru compressor...even at 240 FPS on my Sony's no issues....as for Pro Res VS Pro Res HQ I see differences in highly animated stills and when I use optical flow for super slo-mo for horses etc. and other motion studies...if you long for BetaCam SP why don't you just long for non linear editing and Steenbecks perhaps you don't go back that far but I do when Spike Lee was one of our film cleaners. Please explain why you're using Compressor seems to me it's an unneeded step which you've just discovered apparently. Perhaps you should test your ram or figure out where else the bottle neck could be...By the way I use Raid 0 for performance which could also be a factor in the difference.

Dear Mickey,

Thanks for the troll, I'll give you the pleasure of this one response and then leave it at that....

There is obviously an issue with importing the CGO3+ native 30fps footage into FCPX based on the simple fact that there are multiple people in this thread that have experienced it. Why you're not experiencing it is unknown to me but I am glad to hear that it's not an issue for you.

As for the ProRes 422 vs. ProRes 422HQ comments maybe I need to clarify. When I say use ProRes 422 it is specifically in reference to footage from the CGO3+ camera. ProRes 422 has a data rate of 117Mbps. ProRes 422HQ has a data rate of 176Mbps. The CGO3+ camera reportedly shoots around 50mbps. Just so you know, your quality is never going to get better than the original 50Mbps. no matter what you encode it to! The only thing that ProRes 422HQ will do for you is take up more drive space. Now if you're talking about capturing animated stills into your Mac then by all means use as whatever flavor of ProRes you feel you need the quality for. When I shoot for broadcast I normally shoot ProRes HQ but this is on my Blackmagic Designs Ursa Mini 4K camera that will shoot directly to ProRes 422HQ at 176Mbps. Also I would suggest that the reason you are seeing better results in slo-mo has to do with the use of optical flow, not the ProRes 422HQ. Optical flow is the best practice in most cases when retiming footage in FCPX.

To clarify on the BetaCam SP... I long for the days of one format coming into my edit bay. Back then the only concern I had about the footage was if it was drop frame or non-drop frame timecode. Today I have to deal with many more combinations of resolutions, frame rates, wrappers, codecs etc... The trade off that I do love is the higher resolution images and 16x9 workspace that I have today. So no... I would not go back to BetaCam SP.

Side note here... Your use of the term "Non-linear editing"... I don't think you know what that means sir. You are using to reference editing on a Steenbeck as non-linear when it is the farthest thing from non-linear. A Steenbeck is inherently linear as it cuts film! Non-linear editing system are computer based systems where the footage is digitized from analog tape, or ingested from a digital source. You then have random access to any frame of your footage at amy time. You can edit on a timeline and not have to commit anything to a final output until you are satisfied. Think of it as a word processor for video. It would include systems like Final Cut Pro, Premier Pro and Avid Media Composer. Yes I have done broadcast and non-broadcast work on all of these systems. Unfortunately I have never had the pleasure of working on a Steenbeck, but I would certainly welcome the opportunity.

Your assessment of my use of Raid-5 is also flawed. You see I have clients that pay me good money to deliver productions to them on time and on budget. Because of that I need redundant backup on my media arrays. Raid-5 allows me that redundancy. If I lose a drive I swap it out and keep editing while it rebuilds. If I lose a drive on a Raid-0 array I am screwed.

As a general comment to your overall troll I will add the following. This post was the 2nd post I put into this forum when I joined it yesterday. My intent was, like many others here, to seek help and to offer any help I can in relation to my newly acquired Typhoon H. You see the beauty of the internet, and forums such as this, is the ability to share knowledge with other that have the same interests. It makes all of us better at what we're doing wether we are doing it professionally or as a hobby. But unfortunately that beauty is often times pot marked by the relentless troll that ads nothing to the conversation, he/she only leads to inflame argument and ugliness. That is why after I hit the Post Reply button on this response I will respond no more to you. I will however continue to lend my 20+ years of production experience to those that have a need while taking part in this forum.

In closing I will just say that as proof of my abilities and knowledge of the craft of film and video production I would invite any of you to click on the link in my signature. It will lead to my companies website where you can see plenty of the work we have done. Some of it has even won us Emmy's!! That's kind of a big thing here in the states.

Regards,

Mike
 
Dear Mickey,

Thanks for the troll, I'll give you the pleasure of this one response and then leave it at that....

There is obviously an issue with importing the CGO3+ native 30fps footage into FCPX based on the simple fact that there are multiple people in this thread that have experienced it. Why you're not experiencing it is unknown to me but I am glad to hear that it's not an issue for you.

As for the ProRes 422 vs. ProRes 422HQ comments maybe I need to clarify. When I say use ProRes 422 it is specifically in reference to footage from the CGO3+ camera. ProRes 422 has a data rate of 117Mbps. ProRes 422HQ has a data rate of 176Mbps. The CGO3+ camera reportedly shoots around 50mbps. Just so you know, your quality is never going to get better than the original 50Mbps. no matter what you encode it to! The only thing that ProRes 422HQ will do for you is take up more drive space. Now if you're talking about capturing animated stills into your Mac then by all means use as whatever flavor of ProRes you feel you need the quality for. When I shoot for broadcast I normally shoot ProRes HQ but this is on my Blackmagic Designs Ursa Mini 4K camera that will shoot directly to ProRes 422HQ at 176Mbps. Also I would suggest that the reason you are seeing better results in slo-mo has to do with the use of optical flow, not the ProRes 422HQ. Optical flow is the best practice in most cases when retiming footage in FCPX.

To clarify on the BetaCam SP... I long for the days of one format coming into my edit bay. Back then the only concern I had about the footage was if it was drop frame or non-drop frame timecode. Today I have to deal with many more combinations of resolutions, frame rates, wrappers, codecs etc... The trade off that I do love is the higher resolution images and 16x9 workspace that I have today. So no... I would not go back to BetaCam SP.

Side note here... Your use of the term "Non-linear editing"... I don't think you know what that means sir. You are using to reference editing on a Steenbeck as non-linear when it is the farthest thing from non-linear. A Steenbeck is inherently linear as it cuts film! Non-linear editing system are computer based systems where the footage is digitized from analog tape, or ingested from a digital source. You then have random access to any frame of your footage at amy time. You can edit on a timeline and not have to commit anything to a final output until you are satisfied. Think of it as a word processor for video. It would include systems like Final Cut Pro, Premier Pro and Avid Media Composer. Yes I have done broadcast and non-broadcast work on all of these systems. Unfortunately I have never had the pleasure of working on a Steenbeck, but I would certainly welcome the opportunity.

Your assessment of my use of Raid-5 is also flawed. You see I have clients that pay me good money to deliver productions to them on time and on budget. Because of that I need redundant backup on my media arrays. Raid-5 allows me that redundancy. If I lose a drive I swap it out and keep editing while it rebuilds. If I lose a drive on a Raid-0 array I am screwed.

As a general comment to your overall troll I will add the following. This post was the 2nd post I put into this forum when I joined it yesterday. My intent was, like many others here, to seek help and to offer any help I can in relation to my newly acquired Typhoon H. You see the beauty of the internet, and forums such as this, is the ability to share knowledge with other that have the same interests. It makes all of us better at what we're doing wether we are doing it professionally or as a hobby. But unfortunately that beauty is often times pot marked by the relentless troll that ads nothing to the conversation, he/she only leads to inflame argument and ugliness. That is why after I hit the Post Reply button on this response I will respond no more to you. I will however continue to lend my 20+ years of production experience to those that have a need while taking part in this forum.

In closing I will just say that as proof of my abilities and knowledge of the craft of film and video production I would invite any of you to click on the link in my signature. It will lead to my companies website where you can see plenty of the work we have done. Some of it has even won us Emmy's!! That's kind of a big thing here in the states.

Regards,

Mike
I meant to type linear, digital is of course non-linear...as for raid 0, I use a separate system for back-up thus I don't need a redundent raid arrangement...wouldn't my reference to linear have been recognized by discussing film cleaning? My apologies you think I was trolling I was just attempting to figure out why you were having issues...I'm quite aware of the properties of optical flow and I'd already checked out your link which indicated you're an editing professional...I mentioned optical flow because I explained why for me I saw a difference between Pro Res and Pro Res HQ, I'm often editing from various cameras....why do you regard responding to your comments as ugliness and flaming when it appeared you were seeking advice and I was merely sharing my experiences with you? There is no need for you to respond but I just think for some reason you're overly defensive about matters which don't warrant it. Above I've further attempted to clarify why my work flow is different than yours and my experiences are different than yours...please don't interpret my explanations as anything more than that. As a professional editor I know you recognize that there are a variety of work flows. As for you Emmy's that's of course wonderful I collaborated on a documentary which was nominated for an Academy Award....
 

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