I’ve had some bad luck with MXF ingest to FCP, the Canon C300 variety needed a bit of voodoo. This weekend, I’m playing with images of Panasonic’s P2 media, copied onto an NTFS formatted USB3 drive.
FCPX couldn’t see anything. It knew there was a P2 card there, just didn’t see anything. Okay, moving on.
I’ve recently ditched Adobe Creative Cloud for being too expensive to maintain for an FCPX editor, but I still kept Adobe CS6 as there are some things (Audition, Encore, Photoshop and Illustrator) that I need – if not the latest versions thereof.
So, surprise, surprise, Adobe Premiere Pro and Adobe Prelude could both see the P2 card. I started a Transcode from the MXF files to ProRes 422.
If we skip the issues that cropped up trying to make that happen reliably, I also fired up Final Cut Pro 7 – which has a ‘Log and Transfer’ mode that also saw the P2 card images and willingly imported them whilst transcoding to ProRes.
And here’s the catch: FCP7 did 90 mins of P2 rushes in about 45 minutes. Adobe Prelude did the same in about 90 minutes.
So, we’d expect the Prelude transcodes to be better than the FCP7 transcodes – it took longer, the software is newer. Stands to reason, right?
The two versions look visually identical. Flipping between them, there’s no visible difference.
We can take one version, import the second version and overlay it on the first version, then use the ‘Difference’ composite mode. It will highlight the difference between the two – supposedly identical – frames. What you get is a murky-black composition which tells you nothing. What you need to do is group the two together, then boost the contrast to buggery. One of the versions has a sort of ‘flicking’ nature. Maybe for a frame, maybe for a second or so. I lined up originals on top of each other to mark where the difference composite flicked, then examined each version with a waveform monitor. What you see is this:
Compare this frame:
With this frame:
You may have to do this side by side. It’s actually a big difference. Check out her hair.
The Adobe Media Encoder version has barely visible jumps in luminance. Barely visible on a monitor. but it’s about 1-2 IRE. The FCP7 Transcode versions do not. They are ‘cleaner’.
Yes, I obsess (!) about this – because I’m chromakeying the results, and ‘bumps’ in luminance can upset the keying settings.
So, I’d recommend FCP7 over Adobe for ingesting P2 cards for measurable speed and quality reasons. I wish FCPX would ingest P2 direct from disk, but my installation doesn’t work (it didn’t work with C300 for a while, until I found the fix).
So there you go. I know Adobe Media Encoder gets a good write-up, but in this case I have to hand it to FCP7. I wonder if I’m missing a secret folder for P2 ingest in FCPX?