Canon C300 H264 to Avid MC8.3 work flow questions

[Zoe Westley]

Thanks Michael, delivery is meant to be 1920×1080. However if they do shoot at 2K they may change their mind about delivery and opt for 2K -not sure yet. I would still need to edit at 1:1 as we have no time to conform on this project

Zoe

[Michael Phillips]

Other than a DCP there is not a whole lot of reason for 2K acquisition – you can scale it to 1080, but there is not enough of resolution difference to take advantage of supersampling or over-sampling as described in this blog: https://endcrawl.com/blog/2048×1152-is-a-total-crock/

And the fact that Media Composer’s resize algorithm is OK, but not great to start with.

But workflow wise, it is the same – as what your 1920×1080 would be.

Michael

[Shane Ross]

The only 2K delivery really is DCP. 2K for 1080 doesn’t allow for repositioning much either

Shane
Little Frog Post
Read my blog, Little Frog in High Def

[Zoe Westley]

got it thanks.

when i select Video Mixdown, there isn’t a DNxHD 220 option on this system, so i was going to choose DNxHD 185, would that be okay or should i select 1:1 MXF.

The rushes are arriving on drive tonight so i am just doing tests.

thanks os much

[Michael Phillips]

220 represents the data rate at 1080i/59.94 – so if you are at 23.976,24, or 24 it will be 175 or 180/185. The x represents 10 bit version. I don’t think you will get much value out of 1:1 compared to 185 based on your sources and it will take up 4.5 times more storage.

[Zoe Westley]

Thanks Michael, so i have just found out that they have added another camera to the mix the Canon Fs7 – shot at 2K, but delivery is still just 1920×1080.

My question is, should i AMA link and Consolidate, like with the C300 footage?or should i treat this footage differently

thanks

[Michael Phillips]

I think you meant to say Sony Fs7 and not Canon?

Here is a link on Fs7 versus sC300 – It seems that the Sony is either HD or UHD 4K and does not shoot 2K – Either way, you will be AMA linking to the camera originals and doing a transcode. “IF” they are shooting 4K on the Sony, then you have lots of reframing potential. If you are on 8.x you can choose to transcode to DNxHR and keep original resoluton.

Will they be shooting LOG and you apply LUT or will you color correct original LOG images?

Michael

[Zoe Westley]

Hey Michael, they have just filmed everything and it sounds very chaotic – oh no – they have said the Fs7 was filmed at 2.7K and drone footage at 3K. sounds odd, but i’ll see when it arrives later. Looks like a long night of transcoding etc.

So it looks like i should transcode to 185MXF – that looks like it would make most sense. would i need to select ‘apply source transformations?

They said that they shot LOG without a Lut. we’ll be going in to a proper grading suite for this one. So i’ll export a 185MXF video mix down – as a same as source QT.

[Zoe Westley]

one last question i should have added, AMA Source Scaling Quality i was thinking of selecting full. but seeing as its 1920×1080 delivery would half (best quality) be better?

thanks