Render Question In FCP

okay you know in Motion you can choose: from Draft - Normal - Best??
Well while I am in FCP and I am chroma keying with HD 108060i it can get a little frustrating having to wait for the whole thing to render before being able to preview it. Not only that it takes quite some time due to my 2.66ghz 4gb Ram computer.
So I was wondering if there was a way to put the render or quality setting to draft while i am editing and then being able to render at "best quality" when I am happy with the outcome?
By the way I know of the Alt + P little trick and that aint cutting it.
Anyway thanks -Nick

Dynamic refers to playback quality.
David is asking about RT settings - the options are Safe and Unlimited.
Click the button at the top left of your Timeline. RT settings are the first two in the list.

Similar Messages

Render time between fcp and motion

I make my own project in motion 3, this project is something like a slideshow but I used a new camera, a light, and the images (png files) in a 3d way. the number of media in the scene is always low, one ore two without filters too. Anyway, when I export the animation directly from motion to a .mov file I obtain a render time very quick, but if I import my motion project in fcp I can't work with this; just the visualization time is prohibitive! than when I export through compressor or directly from fcp tha application crash!
so my question is what elements fcp doesn't like? light? camera? 3d elements?
this time I solved the problem exporting my clip from motion like file.mov but I only move the problem... I cant't archive my project, it's to big!
thank you
G5 Mac OS X (10.4) 8 GB RAM

In my experience, these problems are more likely to crop up when using oversized images. Especially those greater than 2k or 4k (depending on your card). Motion gets a larger "workspace" on its own than when invoked to render from within FCP or Compressor...
Patrick

Graphics render bug in FCP 6 and 7 - Dare to prove me wrong?

I have an issue with an HD video that contains red and purple text and graphics in the edit. I've looked for an answer tirelessly online, with friends, and through trial and error for a good 7 hours before giving up. Here's the deal,
Sequence settings: HD 1440x1080 16:9, 23.98, HDV 1080p24 for editing the canon7d footage that came in - this however doesn't matter because i tested with every setting imaginable including animation raw and ended up with the same results for the graphics problem I'm having (kind of unrelated to the actual footage).
I need to output this 9 minute edit I have to an HD file 1280x720 for youtube upload. So, it has to be under 2gb (youtube's limit) but for client purposes, it needs to be crisp and great looking as you would imagine.
I have a bunch of PSDs, each show a different line drawing of a brush. For each one, the line is a different color. For any of the colors that aren't red or purple, they render crisp and wonderful in final cut pro over top the video. However, the graphics that have the lines that are red or purple, come out pixelated and blurry no matter how i try to render them. The only solution that worked was to render and output them with the animation codec. ProRes HQ worked too but not as well. However, this makes a file way too big. Whenever I went from animation to h264 or from FCP to h264, or any other web friendly format, graphics come out way pixelated. It makes me frustrated as to why all the graphics that were exactly the same except not red or purple came out perfectly crisp. Also, why is animation codec the only codec out there (besides uncompressed obviously) that will create clean edges in these red/purple graphics?
Conclusion: Found that reds and purples are the only colors that seem to be effected when rendering the graphics. Everything else comes out nicely. Animation and pro res codecs aside, any codec making the video small enough for the web (less than 2gb) resulted in the problem of pixelation with the red and purple graphics. Based on extensive research I did online, I was surprised not to find many people posting about the exact same problem. For the issues I did find that seemed related, people concurred that HD nor regular DV video do a good job rendering bright reds or variations of red. Because I found no solutions online or from all the things I tried in the list below
-re-rendered the PSD's in Final cut pro with variation of sequence setting to see if that would make any difference - it didn't. Tried all kinds of different settings in export for h264, keyframes, max quality, etc. no luck.
-tried rendering to "Animation/uncompressed" as far through the process as possible. For instance, I outputted a perfectly crisp "Animation" file that was perfect looking. As soon as I re-exported to h264, mpeg4, or sorenson, or any other codec dropping the file size down, all results returned pixelated results for the reds and purple graphics.
-made sure photoshop settings were all good, even copied and pasted psd into new 1920x1080 project, played with DPI up to 300 to see if it did anything, saved as different formats TIFF, png, eps, layers, flattened, 8-bit, 24-bit, 36-bit, etc., none of the formats worked correctly.
-outputted my own purple and red graphics and text and rendered in final cut to see if the file had anything to do with it. same problem with my red and purple graphics and text.
-Tried adding slight moving grain to the graphic in Final cut to try and trick FCP to thinking it was a video instead of a graphic and therefore render it smoothly.
-consulted with 2 other video editors/media experts, ended up frustrating them as well (and hurting their ego a little since they were sure they could figure it out)
-Ran the shot and graphic through after effects and premiere pro separately (different video programs) to see if final cut pro was causing the problem, same problem with those programs.
-tried rendering on a different mac, still the same.
-Actually upgraded my final cut pro version to the new version (now Final cut studio 3). Ran tests on new version of final cut pro, same exact problem.
-added black edge to purple graphics to see if that did anything different to the rendering. Didn't help
-Changed the hue of the graphic to anything other than red or purple. Wouldn't you know...That fixed it.
Here is a link to the Animation Output of a half second of the edit with a sample red graphic crisp as can be for you to test (12.7mb) -
http://www.robinsonhope.com/downloads/makeup_animationtest.zip
Here is a link to view screenshots before and after to show you what rendering does to the graphics.
http://www.robinsonhope.com/downloads/makeup_ss.jpg
In case you'd like to try and find a solution, please download the link to the HD animation half-second clip and output to h264 or any other web friendly codec that would show these red graphics clean and not blurry and pixelated. Other rule is after doing the math, a 9 minute video with the compression you choose would need to be under 2gb. This shouldn't be too much of a problem because even a 1280x720 h264 at max quality for a 9min video is still under 2gb.
The first person to show me that you are truly a FCP guru and can solve this, post a link of your successful solution, I will praise you as genius all over this forum. I will also be eternally grateful. Live in LA? I'll also buy you dinner, Haha. But seriously...

Welcome to this forum,
Sorry to hear you so struggling with this issue.
And I doubt whether I can solve this for you, but I can say a few things.
The title of this thread is:
Graphics render bug in FCP 6 and 7 - Dare to prove me wrong?
I'll prove you are wrong. Or actually you've already proved yourself wrong in your post:
-Ran the shot and graphic through after effects and premiere pro separately (different video programs) to see if final cut pro was causing the problem, same problem with those programs.
Seams that I try to annoy you, but I'm not. It's not a joke. The fact that other applications can't handle it as well AND the fact that Animation Codec (Which is pretty lostless) does not have this problem, tells you that the problem is likely the low compression you want OR the footage itself. And I dare say it's BOTH.
I downloaded your testfile and have opened it in FCP and I can see in the Vectorscope that your color Red is too hot.
[Click here|http://i843.photobucket.com/albums/zz356/rienkL/Screenshot2010-04-02at1324 20.png] to see the vectorscope of your picture?
You also see the small boxes (clockwise)
Red, Magenta, Blue, Cyan, Green, Yellow. The signal of your picture should stay somewhere between those boxes. You should read [this article|http://www.larryjordan.biz/articles/lj_scopes.html] (two third on the page) about the vectorscope. Also has a picture with the range to be broadcast safe.
So back to your picture and your vectorscope. You'll see that just along the right side of the R in the vectorscope there's a peak which goes way out of the range. And that's exactly the color of your graphic.
I tried isolating that color, reducing the saturation, and then do an export, but that failed. You should adjust that within the PSD's first and then see how exporting goes.
So now you are thinking: My client wants his own colors! Sure he does. But those colors were probably designed for print, which does have another colorrange. Simple technical story. You're bound to specific saturation. Going over that means troubles....
And I'm not claiming that your problem will be solved when you adjust this. It is still possible that h264 just doesn't like red too much. Maybe that's on purpose. Our eyes are most less sensitive to red, so that gives the compressor some extra room to compress in the reds (Don't know if this is what compression developers do; just thinking out loud, just an idea...)
Hope this helps at least a little.
Rienk

How to make a render farm with FCP X / Compressor??

Wondering how to setup a min render farm with FCP X on three machines. Played around with setting in Compressor but never see any machine available when I go to render on each machine?

Ok, so I'm using the wrong terminology.
I want to have all my machines transcode for me, is this possible, yes or no and how do I set it up. I've buggered around with all the settings in the link above but I'd get anything to show up?
Also I believe that compressor needs to copy the entire file to be rendered over the network for the other machine to work on it - is this correct ? I'm on wifi guess I could connect machines together via ethernet.
I'm looking at 4x time to do a simple render on prores proxy material and when I have to do it on a 2 hour wedding video I'll be looking for the nearest bridge to jump off!

Render Farm for FCP 7 PLEASE HELP ASAP!

I have been searching all day for a way to get a render farm going on FCP. Problem is, any of the places that have any type of remote answer are from at least a year ago, and apply to FCP 6.
I have no experience with setting up a render farm, but I need to render out a lot of footage with effects ASAP to meet a deadline.
If anyone out there could A. tell me if it's even possible to set up a render farm on FCP 7, and B. how to do it, in dummy's guide terms, because I am setting this up for the first time in desperation.
PLEASE HELP!!!
~ Sean

Just as well; deadlines are not where you want to try to attempt unknown hardware hacks.
When you get time, after your deadline has expired, tell us about your project and how you allowed your effects to go unrendered for so long. We can help you not do that again.
bogiesan

Render Times on FCP Not Accurate?

Hi, <- My casual Greeting
Hopefully there are a few video editors out there on the forum... cause this one is program specific....
So I have been an avid Final Cut Pro guy for the last 4 years. I love the program.... I can work very easily in it but recently I got a new job in which I have been using both FCP and Adobe Premier.
Here is my issue... I have been using files that come in as MPEG 2 and have been using MPEG Streamclip to convert them over to a ProRes file for FCP. From FCP I have had to export them into 3 formats
1. Mpeg 4 (the file format our website takes)
2. FLV (Format for online video sites)
3. QuickTime (XDCAM) for our tricaster
The last week I have been using FCP and my render times have been (for a 5 min clip)
1. Mpeg 1 hour+
2. FLV 20 min+
3. QuickTime (XDCAM) 1 hour +
Yesterday I was told to use Premier as my boss uses Premier on a regualr basis and I assured him that the times would be the same as FCP is a Mac native program and that Premier was made to work on a mac but is essentially a PC program (I am eating my words now)...
I redid the renders on the same file...
On premier the render times were
1. Mpeg 30+ min
2. FLV 12 min
3. QuickTime (XDCAM) 40 min
Why is this? Do I just have something really messed up in my settings that FCP is not rendering quickly and Premier is? I would hate to have to hop over to Premier... I enjoy using FCP way to much.
The other question I have is why are FCP render times not accurate...
The renders will start saying 5 min then 10 then an hour etc.... and the time will not be accurate. If it says 5 min it may go for an hour... or if it says an hour it may just complete while still telling me I have an hour to wait.
Adobe Premier, right off the bat, will tell me the frame it is on and the percent and time left... almost to the T.
If possible... please help me get my fcp back on the right track.
Tim

Rendering can be much faster if you have a multi core intel Mac and you use Qmaster with Quick Clusters.
Here's how.
Set up Quick Clusters in Qmaster. (A description of how to do this is in the manual and also can be found in the Qmaster forum here in the Apple discussions as well as out on the web.)
Export your sequence from FCP using "current settings". (Do NOT use Quicktime Conversion!)
Open up Compressor and submit your file. Add the three output elements.
Submit the file and click "use unmanaged services"
Go have a cup of coffee while all the cores chug away at things. I guarantee it will be faster than the way you are currently exporting (if you aren't using clusters)
x

Question about FCP and Varicam

Hi everyone-
I'm about to start editing a film. I'd like to use my FCP system. The producers are thinking they want to bring in all the footage in the native varicam format rather than downconverting to DV so they can save money by not having to make DVcam dubs, and not having to pay for an online... I've never edited in the native Varicam format before, but I assume once its in the system, its no different than any other footage...
So, I have a few questions that maybe someone here with some experience can help me answer:
1> Do I need some kind of card (like a blackmagic or AJA card or something to put into my G5 that will allow me to pull footage from a varicam deck? And if so, how much (roughly) should I expect to pay for such a card? Which ones are the best?
2> I have 1.5 TB of storage on my system. How many hours of Varicam footage can I expect to get with that amount of space?
3> Are there any areas I should watch out for that could come back to bite me in the rear by using the native varicam footage?
4> If buying a card and renting a varicam deck proove to be very expensive, how much would I normally expect to pay if I wanted to rent a suite that was already set up with a FCP system which could digitize varicam footage?
5> Are there any places that offer good tech support for FCP if you didnt buy the system from them? (In other words, has anyone had any luck with good 'after market' tech support packages?) and how much should I expect to pay for this kind of service?
Thanks much!
David
G5Quad 2.5 GB 8GB Ram Mac OS X (10.4.8)

I know a few people at the DR Group, but not Adam. You should talk to TJ, their Post Production Specialist.
I had no problems with frame accuracy at 720p24. I captured all my footage via firewire and the timecodes matched perfectly. The interesting thing is that because the 24 frames are extracted from a 60 frame tape, the code jumps around a bit...skips numbers and goes up to 59 frames. But those frames you are working with are extracted frames and are fine.
Onto mastering. Why would you go back to DVCPRO HD for your master? I mean, you CAN if your client requires it, and you can via firewire, but there are a few tricky steps you need to do. You can via HD SDI with very little (unnoticable) quality loss. But what gets me is the outputting to D5 and then recapturing. WHY? As you most likely read, we output the 720p DVCPRO HD sequence to 1080p HDCAM. Now their will be SLIGHT softening of the image of course, you are taking a lower 720p resolution and outputting it to a larger format, 1080p. But that is not only unnoticable unless you display it on a HUGE screen, but really unavoidable. No matter what you do with that 720p image, you will be blowing it up and their will be SLIGHT softening. Will the viewer notice it and be distracted? I highly doubt it. Will you notice it? Only if you look REALLY HARD.
My maps and titles and graphics all upconverted fine. Yes, if you want them to look their absolute best, you'll want them to be the same format as your final delivery. So if you are delivering 1080, you can choose to do them at 1080. His idea of outputting to HDCAM at 1080, then capturing it again and adding the graphics is one way of doing it. But then you are adding compression to your footage not once, but a couple of times. Output...compression...input...compression...output again...compression. If you want your graphics to be the best they can be at 1080, simply take your 720p timeline and drop it into a 1080p timeline, rescale it and then render. This will take a while, but then it is full size...no further loss of quality. Will it be fuzzy? Again, yes, but so slight I doubt you'd see it. This is the workflow I was going to use when the Kona 2 was the only option. But the output, recapture, adding titles and graphics then output again was another option we looked into, but then discarded due to the complexity of it and time needed. I like simplicity.
The G-Raids are fine for editing DVCPRO HD footage, but for uncompressed you will need a SATA Raid or Fibrechannel RAID. This is the reason I built my Popsicle Stick RAID, because I was going to upconvert to 8-bit uncompressed HD and render it. I needed to store the rendered cut on the RAID so that I could playback the footage.
It isn't necessary to get an HD monitor if you aren't color correcting. If you have two monitors you can choose to use one to display your image via Digital Cinema Preview. Or you can get an HD LCD and view on that, but you will need a capture card capable of feeding it an image.
Again, the workflow Adam laid out is a valid one, just one I wouldn't choose. My graphics and maps all upconverted fine, and the online editor who did some minor fixes for us (using the HUGE Sony CRT HD Monitor) commented that they looked really cool. If he didn't catch it, would Joe Public at home on his big widescreen tv being fed a COMPRESSED HD signal via the airwaves? Not likely.
Talk to TJ...see what he thinks. He and I are good friends and we did the workflow I laid out in my blog.
Shane

Render Error in fcp 6 on uprez clips

Hello all,
I'm getting this error message when trying to render a clip. Wondering if there was a shorter work around than the one I'm currently using?
I'm trying to render a clip that has the file name for example:
frankprores1920
or as simple as "Boonen"
And I get this error: FILE ERROR: ILLEGAL NAME. However if I make a cut in the clip for ten seconds and then render it will render just fine without an error message.
Note: I am trying to render something in a timebase with different compressions. For example...I have a 10bit uncompressed sequence setting and I'm trying to render something that was DV. Now usually it will render it just takes a while but in I've noticed ever since I switched to FCP 6 most recent version I cannot render the ENTIRE CLIP without getting the error message.
Not sure why.
My computer is getting on in years and I'm wondering if this is an issue with Tiger and fcp 6?
Any thoughts?

I have seen this before. I just painted out the green bits but I should have really tried to work out why they were there in the first place. Try deleting your render files via Render Manager and then re-rendering everything, even stuff that doesn't explicitly require rendering.

Beginning Questions for FCP user

Hi - I'm new to FCP (have used Premiere and Avid in past) and I have several questions. I have an Aja Kona 3 system with breakout box and want to know if it's possible to view HD footage captured on a Sony HD EX1 on my NTSC monitor? What should my Audio/Video setting be? I have 2 30"Apple HD cinema monitors and a Sony NTSC monitor.
Also - Do I always want to edit in the native format that I shot footage in when it comes to HD? This is my first time working w/HD, so I'm a bit confused, as I have a project that requires me to mix HD and SD footage, but I'm used to watching SD footage on an external NTSC monitor in real time.
Also - when worked with 24p SD footage in the past, I always had to do a 3:2 pulldown in After Effects - is this not necessary to do with HD footage now to manipulate it?
What does anyone recommend for my sequence timeline settings in general then? thanks -

Yes, the Kona3 can down convert HD to NTSC, those settings are controlled with the AJA control panel.
Your video settings (typically) should match the settings of (the majority of) your captured footage settings.
With the possible exception of HDV (in combination with the power of your computer) yes, you should typically edit in the native format of your footage when possible.
If your using a mix of HD and SD you'd base your settings on the desired end product, HD or SD.
You can not mix frame rates within a sequence. If you shot 24p set your sequence to 24p.
Sequence settings, in general, should match your captured footage native settings.

3 questions about FCP 7 and Blu-Ray

Hi Folks,
After reading the other posts on Blu-Ray and FCP 7 I still have just 3 questions:
1. I would like to get an internal burner. I see that at MacMall they have one that is specific for my MacPro model (2008) and there's one that they sell for the 2009 version. So it seems that I have to select a specific drive for my Mac Pro model correct?
http://www.macmall.com/p/MCE-DVD-Drives/product~dpno~7785361~pdp.fedabdd
Does anyone recommend a specific brand/type?
1. If I add the chapters mark on my project and export to a Quick Time file, will the chapters be present and accessible when I burn the Blu-Ray disk?
2. Looks like the best option is to buy Toast but, just to make sure I understood the issue with the share to Blu-Ray: If I just have one simple project with a movie with about 10 chapters, is it worth trying to use the option to share to Blu-Ray or is it not recommended for any type of project?
OK, I know I said 3 questions Just one more?
Back in the days, I remember compatibility issues with some types of DVD media and DVD players (DVD-R, DVD+R, brand, etc). Is there such a thing with Blu-Ray media and the current players?
Again, many thanks for your time and patience!
Best regards,
Ismenio

I use OWC (macsales.com) for purchasing blu ray burners. good company.
Not certain on markers.
I create blu ray disc with Compressor in FCS3 without many issues but not using Share.
I don't advise using Share.
Set your markers on a short clip.
Export self contained with the markers, and then use Compressor directly

Rohmer -5D Mark II questions with FCP 7

Hey Rohmer
I own a 5d and I love it -I am amazed at the video quality and the 7D looks to be even better -I was reading a couple of your past post and - u said u have tested the footage on both FCP 2 and 3-
Well I have too and I thought it ran better under 10.5.6 than on snow. Reason being it the scrub function. I have a MACbook pro 2.33 model and I could scroll though footage fast on 10.5.6 and now on Snow it is real jerky -
I did a clean install of everything on Snow- Im just not sure I am happy with FCP 7 on Snow -will FCP 7 run on 10.5.6 ?
I have just seen some strange things with 7 and Snow -I do love the new color though-
also one other thing -I have been having this "preparing for display output" message come up every so ofter when I have multiple layers in FCP 7 and its annoying -never had it come up in FCP 2
any advice
Matt

Hi,
about your question, I'm running successfully FCP7 on 10.5.8 and I don't see why it shouldn't work fine also on 10.5.6.
From the Apple website, FCS min requirements:
- Mac OS X v10.5.6 or later
- QuickTime 7.6 or later
Regards,
Armando.

The infamous render question

I've read several posts concerning rendering and so far none of the answers have helped me. I have both red and yellow bars over my timeline so I know I need to render. When I go to render, the render bar pops up for a second then goes away (and doesn't render anything.) EVERYTHING in the Sequence > Render menu is checked.
Why won't it render?

Just so we can knock out the obvious, have you checked all render types in "Render All" and "Render Selection"? If you don't select anything and try to render a selection you may get the result you're getting, although a quick check in FCP 5.1 on my machine started to render the whole timeline.
On another track try the "auto render" feature in the "User Preferences / General". Turn it on and see if your video renders.

FCP Motion round trip-what render settings does FCP use? Motions or FCPs?

FCP's sequence set to 8 bit SD uncompressed (not 10 bit YUV-although the clips are 10 bit uncomp, this is how the facility house wants it).
Do Motion's render settings matter if the clip arrives back in FCP as a .motn? For instance doMotion's view menu (options field rendering (altF) & draft/normal/best) and the Motion project settings(8 bit/float etc) make any difference or does FCP 8 bit sequence video processing setting override?
\Many thanks

and additionally, why do luma levels come back from Motion clipped? As I understand it, Motion will convert to RGB and clip levels above 100%, but its done it to everything by about -10%. Strange, think I'll stick to QT exports in future, you know exactly where you stand

Question about FCP feature. (Not sure what they call it)

Hello everyone,
I have a question. A few times before I have done this thing on FCP where I get 2 clips and run them at the sametime and as they are playing I would click on the angle that I would like at that moment and so on. FCP would automaticly put it in the timeline with transitions once the clips where done. But for the life of me I can't remeber how I did it now. Can anyone refresh my memory? thanks. I do remeber when the previous FCS came out, they had a quicktime video of how it was done on apple.com.

Your best bet is to set an inpoint on each clip where they should line up. Then select them all in the browser and right-click for Multicam. Take the option for sync at inpoint.
Then look in the manual... somewhere in II-250ish
I always get confused after that point.
CaptM

IPod Touch 4th Gen all have diff. fps. Need to render all in FCP?!

I have an iPod Touch 4th Gen and am trying to edit the videos taken on it on Final Cut Pro 6. But, I noticed all of the videos have different fps (frames per second). Do I literally have to render out all of them so I can view it? Or is there in option in Final Cut Pro where I can set the sequence settings to a generalized h.264 setting to cover all fps? Help!

>is there in option in Final Cut Pro where I can set the sequence settings to a generalized h.264 setting to cover all fps?
FCP doesn't work with H.264 natively . You need to convert all the files so they will match your FCP Sequence settings.
-DH

Render Question In FCP

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