![]() That's just 422, not 422 HQ, which is 1886MbPS or 848GB/hr.ĭo you really need to be working at that resolution and frame rate? I mean, for a martial arts demonstration I could see how being able to slow down the action and blow up certain spots to call attention to it would be beneficial, but a seminar sounds like it's a talking head. According to Apple the data rate for that is 1257MbPS, or 566GB per hour. No, you're going to be working with proxies, because that's the only way this setup sounds reasonable, to be blunt. > I'm going to be working with 4K Pro Res 422 60 fps footage. ![]() Say something goes haywire and your footage is corrupted. Well nowhere do you mention backup, and backup is important. >Does this sound about right for an editing workflow? NAND Wear is real, and you don't want to be stressing your camera's media. >I am thinking of purchasing an editing dock, so I can slap my SSD's in that I use for image capture and just edit the footage right off there (for smaller/shorter videos). It's a shock to the newbie to the video production world but to a video pro, ProRes 422 bitrates are not that big really. But some people don't or won't adjust to the file size difference of transcoding from basic consumer files to full resolution prores 422 or higher files. I don't ever want to go back to the original files, so I wouldn't make proxies of them. My personal philosophy is proxies are for high end camera files that need to be lower resolution for editing, transcoding is for consumer files that need full resolution because I don't want to use the unoptimized consumer files at all. Proxies are typically lower resolution, and when attached correctly premiere will always use the original source files for export. Proxy is a KIND of transcoding but not all transcoding is for proxy. Now yes, when you do an ingest it gives you the option to transcode or proxy or both. Or DNx, as it's a verrrryy similar family of editing codecs. You can set up an ingest profile to transcode all your clips into a flavor of prores if you want to. You can largely ignore the final cut pro stuff and it's pretty much all the same benefits are there for premiere pro as well. source=web&rct=j&url= ved=2ahUKEwjmgODB0aPwAhVvMVkFHYkpD7EQFjAAegQIBBAC&usg=AOvVaw0hYn91ozvRMnbuZwFlBcM4 With that being said, Windows is still my first choice for desktop computers. I would take $2K laptops that last 5+ years than $1K Windows laptops that only last less than 3 years. I can't recommend Apple laptops enough simply because of its longevity. My almost-seven-years-old Macbook Pro runs the latest version of OS X Yosemite for free (yes, free OS X major upgrades). Give me a 2008-build Windows laptop, and see if it can run the latest Windows without any hiccup. And most importantly, it has lasted me like forever. I love the multi-touch gestures which free me from having to use a mouse. I think the Macbook Pro is superior to any Windows laptop out there. ![]() I own a late-2008 Macbook Pro, which cost me $2K. Sure you can edit with iMovie, but your options to make a great movie will be somewhat limited. That's why serious filmmakers use the good ol' Mac Pros. I don't even dare to run FCP on my machine. I own a Macbook Pro (more on that later), and it gets really hot when I'm rendering a movie on iMovie although I have 8GB of RAM. If you want to go with FCP, your old Macbook Pro option would really be pushing it. Unfortunately, it is only available on OS X. Final Cut Pro is the go-to software to do that. Professional filmmakers, like my co-worker, usually need something more robust to edit clips. Any novice user should be able to throw in some clips and make a complete movie with some cheesy animations if needed. Apple makes the most user-friendly movie editing software out there, iMovie. I worked with a filmmaker exclusively for a few years.
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