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Filed under: Post Production •

Tutorial - How To Get The Most Out Of Your Easy Setup Part 2

In the first of our three part look at the Easy Setup (ES) in Final Cut Pro, we took an in-depth look at the Capture Presets (CP), and really got in there and examined what each one of the settings did.  For part two, we are going to look at what I think is the next logical step in the process, and that is the Sequence Settings, and then we are going to wrap everything up in part three by looking at the Device Settings, and how you can tie everything together to your advantage.

I’m going to assume that if you are reading this article, you have read part one (which if you haven’t, you can read by clicking here ), and I’m also going to assume that you know how to navigate to the Sequence Presets (SP) tab.  Once there, what I always recommend to people is that if you are creating an ES, pick one that is similar to the one you want to create, that way it’s less work for you to create your own.  For this article, we are going to use DVCPro HD - 1080 60i as our “dummy” setting.  Once I click “Edit”, I am prompted that the setting is locked, and I will need to duplicate it before I can work with it.

Like I stated in part one, this is a precautionary move on Apple’s part to help (stop) you from changing the “core” templates that you will use on a regular basis.  Now that I have the Preset duplicated, I’m going to click “Edit”, and now I have a similar screen to the Capture Presets (CP).

Let’s now break down the Sequence Presets by looking at each setting individually, and we are going to start with the “General” Tab.

NAME/DESCRIPTION

Much like in the CP, these two dialogue boxes are where you can enter both a “Name” (i.e. - Kevin’s DVCProHD 1080i), and a “Description” (i.e. - Use this setting when capturing Kevin’s footage that was shot in DVCProHD 1080i) for the SP.

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Imagine Products, Inc. announces the release and general availability of ProxyMill™ for Macintosh

Ty Lowell | 01/07- 11:08 AM

Carmel, IN, January 6, 2009 – Imagine Products, Inc. announces the release and general availability of ProxyMill™ for Macintosh, a new automated video compression application for Panasonic [NYSE symbol: PC] P2 media. With ProxyMill™, designate a “Watch” folder and let the software create low resolution QuickTime™ proxies with frame accurate timecode directly from P2 MXF files in one simple step.

Apple Intros the New 17” MacBook Pro

Scott Gentry | 01/06- 10:11 AM

Unibody constructions comes to the 17”

This introduction is really no surprise.  Given that Apple has moved to this type of unibody construction across their entire laptop line.  I personally have the 15” and love it.  While I suspected the 17” would be announced at MacWorld when I purchased this a few months ago, I couldn’t wait.

• 1920 x 1200 display
• 700:1 contrast ratio
• 60% greater color gamut
• Matte display
• $50 anti glare option

Inside we have a new generation of C2D CPUs—up to 8GB of RAM… new NVIDIA graphics options, discrete graphics onboard....You can upgrade to a 256GB SDD.”

the Battery
There was…

MacWorld ‘09 Predictions

Scott Gentry | 01/05- 09:11 AM

My personal predictions for tomorrow…

As we prepare for the last Apple attended MacWorld tomorrow, I thought I’d throw my hat into the ring with predictions what Phil might be presenting us with.

17” MacBook Pro
This is a no-brainer.  We already have the MacBook, and 15” MacBook Pro in new clothing, it’s time for the 17” to join the party.  I’d bet we’ll see upgraded video processing in the 17”, and slight performance increases across…

Hi Kevin,

Can I quote you on this:

“One thing that is important to keep in mind is that 32-bit float (or high-precision YUV) will not make your actual footage look any better.  You need to talk to your DOP or graphic artist about that.  All it does is give you better quality on your effects work.”

There seems to be some confusion, not the least of which is due to a lack of understanding on my part, as to whether or not rendering/cross or down-converting to another codec like ProRes or DV NTSC would be benefited by using the 32 bit High Precision YUV setting. My feeling (based on your explanation) would be that it would not make any difference at all but consider the following advice on another forum:

“High Precission is nothing about graphics. Is critical that you set “Render all YUV material in High Precission YUV” and Motion Effects Rendering: BEST. Tis affect to how the 1920x1080 4.2.0/8b Square pixels are converted in 720x480 4.2.2/10b NTSC-Anamorphic Pixels.
Cheers,
rafael”

Link:
http://forums.creativecow.net/thread/8/1014954

I know the above poster and he would not unintentionally steer anyone wrong. He is of the opinion (if I’m reading it right) that if you take 8 bit video into a 10 bit codec timeline that it will be beneficial (for the video).

Basically I’m trying to come up with a work flow that creates the best down-converted XDCAM EX SD footage with Final Cut Studio and I’m trying to cut through the “maybe this will work” stuff and come up with real facts.

BTW, love your series on Easy Setups. Your explanations have given all of us a much better understanding of how it all works. This should be required reading for any FCP course.

Thanks.

- Don

Posted by Don Greening  on  12/12  at  03:06 PM

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