Alex Elkins
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[asher lewis] “plug in source spec and target spec and be given the final spec.”
A calculator?
Taking your example…
Target = 30mbytes (30×8 = 240mbits)
Duration = 120 seconds240/120 = 2mbits/sec (or 2000kbs in the Quicktime Video Settings window)
Frame size and framerate are irrelevant in terms of file size provided you specify the bitrate.
Salad Daze Films – Freshly Tossed
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Oh, no it works fine. It’s just a little cumbersome when you have 17 audio tracks and you have to slowly check where each one is being routed to – I wouldn’t want the function gone but it would be nice maybe in the Audio Mixer tool to have a button to quickly select the output of tracks and to be able to change more than one at a time.
I just wondered if this was already a feature I’d been unaware of all this time and am quite surprised that it indeed doesn’t exist.
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[Shane Ross] “that’s the only way I know of.”
I thought so. I’m amazed Apple haven’t thought of changing this yet.
Thanks for responding, Shane.
Alex
Salad Daze Films – Freshly Tossed
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Love it! Thanks for doing the video.
If Apple are clever I could see this really taking off for us editors (and I’m sure many other users).
How about being able to slip or ripple using three fingers as you hover over a clip or edit point? I’d love that feature to be added. Put very simply I think it is better than a mouse. Very nice.
Alex Elkins
Salad Daze Films – Freshly Tossed
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Hi all,
I’m in the UK and all of our SD commercials are delivered as files in PhotoJPEG format. We first upload to a company called Adway, who check the legality of the ad (as in the content, not technical), then upload to another company Adstream who QC and deliver via satellite to the stations. Delivery instructions are placed on their website, the orders paid for and then they’re with the stations within an hour or so. It works quite efficiently, the only bottleneck ever really being our upload time, although for 60″ ads it’s not a big issue.
There are now a few broadcasters (particularly the smaller ones who presumably have less invested in tape systems) who are happy to accept larger files delivered on a harddrive. The larger broadcasters have been much slower to adopt this practice.
Personally I’m all for it. I entered the industry quite recently at a time where tapeless acquisition was just being adopted, so putting something onto tape seems almost backward to me, as long as the quality is the same. The greatest value in tape formats now is for archive, in my opinion. Files on a computer can’t compete with the benefit of physically putting a tape on a shelf, which is why I don’t think it will be superseded too soon.I’ve recently started using Dropbox for sending files to clients and so far I like it AND it’s free! There is of course a storage limit, but you can pay monthly to have more space.
Alex Elkins
Salad Daze Films – Freshly Tossed
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Hi Bouke,
I did indeed bite the bullet on this one and continued to sync manually. By being selective in what I use I’ve been able to minimise the amount of time spent doing this, although it’s a kind of back-to-front way of having to do it!
Hopefully this won’t happen again (ha!) so if/when it does I may need to contact you – it sounds like you know exactly how to fix it which is extremely reassuring! Just all depends on how many clips and just how critical it is to have everything in sync.
Thanks again,
AlexSalad Daze Films – Freshly Tossed
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Hi Bouke – appreciate the response, thank you.
[Bouke Vahl] “Now when you transcode the .Mp4 to a .Mov, the filedate as TC source won’t work, as there is a new file created….”
I did test this but as suspected a lot of the metadata was lost in the conversion process. I wondered if ClipBrowser could do it but I can’t seem to find an option despite being able to see the T.O.D. listed there – so close yet so far!
Many thanks,
AlexSalad Daze Films – Freshly Tossed
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Hi Hal,
Thanks for the suggestion. It ought to work, although in my particular situation I think it’s quicker to just sync the shots I need by sight than to manually change TC on each clip as I have so many. (This is multi-cam sports highlights so I’m just selecting the sequences that I need to show and syncing them seperately).
I’ve since discovered that the camera was actually set up to record T.O.D. but the op took it upon himself to do the opposite of everything the producer told him, i.e. record-run TC and stop/start recording.
I did try the amazing (and free) QTChange application to change the timecode but wasn’t having any luck – it works with Canon DSLR video anyway.
Bouke – if you’re reading this, is this something that could easily be implemented? There is an option to ‘Use Shooting Time’ but it didn’t have the desired effect in this instance.Thanks for the help,
AlexSalad Daze Films – Freshly Tossed
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Hi August,
You haven’t mentioned what sort of quality/debayer setting you will be transcoding to. This will make an enormous difference.
For conversions to a low-ish quality format suitable for offlining I’d say 4:1 sounds about right. Possibly slightly faster than that. If you use Clipfinder to do your conversions it tells you how many fps it is transcoding at.
All the best,
AlexSalad Daze Films – Freshly Tossed
Check out my latest addition to the Creative Cow Reels Section