Ffmpegx final cut pro how to#
Ffmpegx final cut pro manual#
Ffmpegx final cut pro pro#
Ffmpegx final cut pro professional#

The main reason at that level is convenience since they are tied directly in to the NLEs and are easy to configure and behave well with good quality results.

Ffmpegx final cut pro pro#

It's great for a free tool, but it isn't a high end commercial product.įor smaller commercial projects, you may find some users, but most often people use the encoders that come with their NLEs at that level (such as QuickTime Pro or Adobe Media Encoder). Commercial encoders or even proprietary ones used internally by encoding houses have far more control, support and development than ffmpeg.

Ffmpegx final cut pro manual#

First, lets clarify that FFMPEG is an encoder, QuickTime Pro is a video utility that happens to include multiple encoders and Final Cut Pro is a non-linear editor and has nothing to do with encoders other than the fact it can output to an encoder (generally QuickTime I believe).įor big budget commercial projects, the emphasis is going to be on having the highest possible quality encoding which often will involve manual review of the content and tweaking the way things are encoded to minimize artifacts and maximize the quality. The main reason is support, usability and control.

Those of us who enjoy learning arcana and carving our way to solutions are probably silently using ffmpeg at work. Use Compressor or AME to transcode from one codec to another and you'll never have to deal with perusing a long list of different YUV pixel formats, or having to make sure that your target file's height is divisible by 2 to avoid an x264 error. Sometimes in ffmpeg a user has to know a ton about source and target codec in order to get things done.

Ffmpegx final cut pro professional#

I frequently recommend ffmpeg to other AE's, but most folk have a command-line aversion.įfmpeg's use in professional film and broadcast settings is probably also limited by the learning curve of not just the application's own syntax(es) but also the exposed complexity of video formats.

I couldn't guess how many other people in features or TV are using it. But in answer to the original question - I do use ffmpeg a ton on both film and TV work, and think it's a great tool that helps me get through many of my regular tasks quickly and well. I don't use ffmpeg for any sort of final or critical output, and I only use it in a few limited ways that I've extensively tested. For example, clips needed for temp can be pulled from BDR or DVDR video discs, ingested into an mkv file, and then from there transcoded with ffmpeg to editorial-ready DnxHD or Prores. Transcoding files for editorial whose original video or audio are in codecs or formats not supported by AME or Compressor.

Ffmpegx final cut pro how to#

When I figure out how to do SMPTE timecode and feet+frames burn-ins with ffmpeg, my use of the application will expand further. It's convenient, faster than AME, and more stable than a Compressor cluster. I've written up shell scripts that accept property-of and recipient strings as command line input, along with target bitrate, and then generate the desired files with a watermark made from those inputs.

Transcoding files to be uploaded for producers to view on digital dailies systems (Dax, PIX, etc). I work as an assistant editor on feature films, and use ffmpeg all the time, primarily for two purposes: