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Evan Schechtman @RadicalMedia – The State of the NLE – recorded a few days before NAB
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[Jim Giberti] “It’s h.264 as most of us use it – right out of the camera. In this case 5D IIs, files dumped right from the CF cards onto Macs and edited directly into the timeline in FCPX.”
Yes, but that a very different kind of h264. Most NLEs can handle that. My post was specifically with regards to blu-ray h264 (files which are high profile 4.1) as par Mr. Schechtman’s statement. I have to work with such files very, very often btw. Without PP/Adobe Media Encoder I’d have a problem.
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“You also agree that you will not use these products for… the development, design, manufacture or production of nuclear, missiles, or chemical or biological weapons.”
iTunes End User Licence Agreement -
[Frank Gothmann] “Yes, but that a very different kind of h264. Most NLEs can handle that. My post was specifically with regards to blu-ray h264 (files which are high profile 4.1) as par Mr. Schechtman’s statement. I have to work with such files very, very often btw. Without PP/Adobe Media Encoder I’d have a problem.
“That I wouldn’t know, we never work with blu-ray files. We transcode everything to Pro Res but I tried working natively with camera h.264 files and was surprised at how well X did with them.
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[Frank Gothmann] “Yes, but that a very different kind of h264. Most NLEs can handle that. My post was specifically with regards to blu-ray h264 (files which are high profile 4.1) as par Mr. Schechtman’s statement. I have to work with such files very, very often btw. Without PP/Adobe Media Encoder I’d have a problem.
“I’ve tried this with some recent Blu-ray encodes and FCPX won’t even let me import them.
As a matter of interest why do you get files in this format?
Steve Connor
“FCPX Professional”
Adrenalin Television -
[Steve Connor] “As a matter of interest why do you get files in this format?”
We do a lot of blu-ray authoring jobs (feature film) and we quite often get jobs where client wants changes to older discs (or double/tripple features, or lower age ratings which require cuts for rerelease, or different trailers etc.). They often don’t have the original masters anymore (mostly SR tapes which were on loan) so we have to work from their checkdiscs and dig the avc files out of the bdmv folder.
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“You also agree that you will not use these products for… the development, design, manufacture or production of nuclear, missiles, or chemical or biological weapons.”
iTunes End User Licence Agreement -
[Frank Gothmann] “We do a lot of blu-ray authoring jobs (feature film) and we quite often get jobs where client wants changes to older discs (or double/tripple features, or lower age ratings which require cuts for rerelease, or different trailers etc.). They often don’t have the original masters anymore (mostly SR tapes which were on loan) so we have to work from their checkdiscs and dig the avc files out of the bdmv folder.”
Ok, that makes sense, does the quality hold up well when you re-encode them back for release
Steve Connor
“FCPX Professional”
Adrenalin Television -
[Steve Connor] “Ok, that makes sense, does the quality hold up well when you re-encode them back for release”
Surprisingly well, depending on the source material and the encoder. Compressor does a pretty bad good job with film grain or noise present so we don’t use it for avc encoding; there’s also no segment based reencoding plus it’s slow as it doesn’t allow clustering for avc coding. It’s usually avc to dnxhd, cineform (soon probably Canopus HQX) or DPX if there is image cleanup involved and then off to reencoding. Bit crazy, I know, would be a lot easier from the original tape.
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“You also agree that you will not use these products for… the development, design, manufacture or production of nuclear, missiles, or chemical or biological weapons.”
iTunes End User Licence Agreement -
[Frank Gothmann] “Surprisingly well, depending on the source material and the encoder. Compressor does a pretty bad good job with film grain or noise present so we don’t use it for avc encoding; there’s also no segment based reencoding plus it’s slow as it doesn’t allow clustering for avc coding. It’s usually avc to dnxhd, cineform (soon probably Canopus HQX) or DPX if there is image cleanup involved and then off to reencoding. Bit crazy, I know, would be a lot easier from the original tape.”
Thanks, it’s good to know that it holds up well, we have a number of projects over the last couple of years where Blu-rays are the only masters we now have.
Steve Connor
“FCPX Professional”
Adrenalin Television -
[Jim Giberti] “That I wouldn’t know, we never work with blu-ray files. We transcode everything to Pro Res but I tried working natively with camera h.264 files and was surprised at how well X did with them.”
The Canon 5D Mark II shoots in AVCHD @ 17Mbps (I belive)… h.264 High Profile 4.1 for Blu-ray tops out @ 36 Mbps. I could be wrong here, so hopefully someone will correct me if I’m mistaken.
Shawn
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[Frank Gothmann] “[Craig Seeman] “H264 1920×1080 HighProfile@L4.0 CABAC .mp4”
It has to be 4.1 high profile to be blu-ray compliant. Can you try that? Use the compressor preset for blu-ray. File extension should be .264 or .avc depending on what encoder you use. Thanks for trying.
“Tested on the same system with a different file that was HighProfile@L4.1 CABAC. Data rate of the file was 20,000kbps VBR.
File played in FCPXBTW the H.264 encoder is MainConcept if it makes a difference . . . and it might.
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So Dos XX beer is really Dos 20 beer? Naugh
And xxx filme are 30 films?
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