I would really appreciate any advice (or reassurance?) you experienced FCPX folks can throw my way, thank you for it deeply in advance and ask you to please remember this is not a request for help with cutting methodologies and so on (I have that part figured out over the years) but rather a straightforward technical query about whether repeatedly exporting MJPEG will cause the image to slowly, even slightly degrade, thus making my methodology a faulty one! To be totally clear, it's all MJPEG files at 4096 x 2160 and every single time I export something I am religiously doing it with all the best, highest, slowest settings and outputting at 4444 and so on - with so much reverence that it's almost as if I am handling a negative.īut is it possible I will lose anything from the image, even the slightest bit of quality, doing what I have described? If so, I will have to find another way. Therefore, what I need to know is whether the duplication I have outlined above will cause any degradation to my image whatsoever. In the old days, I would have been going back to the neg or in analog video using a timecode and go back to the masters… but I prefer not to go through a similar process here. So, as you can see, there are many generations of copying / rendering / exporting. Subsequently, I will lay in the score and re-render. Then I will dump the fifty or so scenes into a fresh timeline and render that also. I will do this, individually for each scene in the film. Then will take the rendered file and design its sound, lay it all down, then render that. For instance, I will focus on a particular scene, cut it together and render it. When cutting, I like to copy quite a bit, so to speak. I have a question about MJPEG and FCPX and my own cutting methodology. Now when you play back sequentially, you can just add the 14th frame to the 13th frame you just processed, but it's the randomness of editing that causes the slow down when you move the timeline cursor abruptly.We've just finished shooting a feature in MJPEG at the resolution of 4096 x 2160 with a Canon 1DC and are about to start cutting with FCPX on a Retina Macbook Pro with 16GB of RAM - so far viewing the rushes and making preliminary cuts has posed no problems and we're particularly pleased there is no lag or slowing down of the footage which simply plays like it was any other smaller format… This is why editing long GOP formats is inherently slow. So if you park your timeline cursor at the 14th frame, Vegas has to process the 13 previous frames just to figure out what the 14th frame looks like. You must process all the frames from the I-Frame forward to create an entire image. ![]() ![]() These contain only the changes since the last frame I-Frame. Then there are B-Frames and P-Frames which are delta frames and predictive frames respectively. If you render MPEG2 as I-Frames Only you essentially get the same as DV (all complete frames). But the GOP problem is still there.Īn I-Frame is the "initial" frame in the GOP sequence that contains a full image. " Where does HDV fit as compared to DV and AVCHD? I always wondered what I Frames meant but haven't reached that chapter yet in my book."Īs John Dennis said, HDV uses a long GOP too but it uses less compression than AVCHD and so it's a lot easier to edit.
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