Native 5D Mark II Video
“Folks. I think I have been sitting on this news long enough. As you all know, one of the most frustration thing about video editing in HD is that you can never work directly with the original clips without some serious performance hit and frame skipping.
The solution to this issue, so far, has been to either use proxies or transcode the clip into a format that can be rendered in real time (ex: ProRes 422). Each of these solutions has a disadvantage. Proxies add complexity to the workflow (I wish Premiere or FCP would handle them like After Effects does) and if you transcode to another codec, you are losing some image quality (they don’t handle the color the same way). The lost might be minimal but it is there. That is why some people just keep editing in H.264 and accept the ever present render bar as a necessary evil.
Well, it is time to rejoice because very soon all of these issues are going to be history! I have learned that the next version of Quicktime (coming with Snow Leopard) is going to allow real time editing of the Canon 5DMrkII H.264 clips!”
Read More: http://www.canon5dtips.com/2009/05/h264-realtime-editing-in-fcp-rumor/
cr
19 Comments
As the current version of Quicktime is a playback tool, not an editing tool, I doubt very much that the new version in Snow Leopard will do this.
is this news going to help me with the 500D clips i’m presently fighting with in my premiere pro/vista arrangement?
BTW Quicktime is an edit tool too (very primitive), my take is that they are going to release a core video update that will enable the real time edit + better playback in QT.
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Quicktime is the underlying tech for all of Apple’s professional video apps, so it may put H.264 on par with ProRes422 as a “native” codec inside of Final Cut Pro. ProRes clips don’t have to be rendered and can have effects added to them (depending on CPU) without rendering being necessary. Perhaps H.264 support is going to be beefed up in Snow Leopard so that you’ll be able to add effects to a H.264 timeline and have real time support.
As for the transcoding issue, if you were actually worried about losing video color data to begin with, you wouldn’t be shooting with a camera that uses H.264. If grabbing every single bit of color available is your concern, you need to buy a camera with SDI out so you can injest a 10-bit uncompressed video clip into your system.
Transcoding to something like Prores isn’t going to do anything that you haven’t already done to your video.