Initial settings for a 1080p 24 project

[Shane Ross]

wait. AVCI P2. Forgot. Well, since it was edited native AVCI in Avid, I’m not sure if you would see any difference if you transcoded to ProRes than if you did it from the masters.

How did you export the media from Avid?

Shane

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[George Feucht]

10 bit 1:1. I had the editor use the highest setting possible of uncompressed.

So… in theory the footage from Avid SHOULD match the footage if I just imported the AVC-Intra 100 into FCP. Theoretically. Once again, I’ll keep you posted on the test. Mostly, I’m interested in highlight recovery and pulling detail from a couple shadows without compression artifacts rearing their ugly heads.

Thanks for all your input. I was just asking of 1080psf worked as an import setting and got a wealth of other advice.

Since we are projecting big, would it be worth it to do ProRes HQ if my RAID can’t keep up with uncompressed?

[Gary Adcock]

[George Feucht] “I want to keep things uncompressed and my one option of my Black Magic Extreme 2 card is 1080psf. After doing a ton of searching, I know that “psf” is a 24fps interlace for Sony HDcam. “

Careful there are a number of the BMD products that do not support 24.0 as a frame rate.

My guess is that is shot at 23.98 NOT 24.0 since it was shot on a video camera and not a cinema style digital camera.

To learn more about Psf go here https://forums.creativecow.net/readpost/193/875880 for my explanation of what PsF is and how it works.

ALL Broadcast 1080 is PsF, while 720 is always True P the 1080 delivery is always PsF during transport.

The only cameras most people come in contact with the shoots and plays back as TRUE P in 1080 are Red or Phantom.

gary adcock
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[George Feucht]

Thanks Gary!

That clears alot up. And yes, when I said 24p I meant to say 23.98. The camera we used was a Panasonic HPX3000 (recording to P2 cards).

Things seemed alot simpler when it was just a lens, celuloid, and a lightproof sewing machine. 🙂

[Joseph Owens]

I’m presently exactly in the same situation with an AVID-AVC-I origination wanting to make the trip into COLOR.

The Duck AAF method, trying to import media, results in a timeline populated with Duck’s “offline” placeholder with the advisory that I’m trying to reference media that AD doesn’t understand. There are also some interesting file hierarchy hurdles.

Next plan is to try the 10-bit Uncompressed route, whether its a baked show that we use the Duck imported sequence for a razor guide, or some other magical relinking Log and Transfer, then Reconnect, approach.

Starts making me favour the Resolve…

jPo

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