[Andrea Klipp]

Thanks Marc, I appreciate your feedback & comparison between DNxHD & ProRes 444. We’ve been doing some test out of AVID, to try and rule things out. We’ve noticed color shifts between the AVID codec and the Apple Codecs on export from Media Composer ~ which is a bit frustrating, as other edit platforms (FCP & Premiere) don’t seem to shift as much.

[Andrea Klipp]

That all makes sense ~ thanks for the feedback. The footage came off a KiPro utilizing Apple Pro Res. Transcoded into Avid using Apple ProResHQ MXF. When I tested AFF export setting with transcode selected, I had the setting set to Link to Media, checked the transcode box and then changed the setting to DNxHD 175x. It created the AAF as well as a new sequence linked to that media. That AAF opens w/o any issues in Resolve as expected. In the test I stared the sequence with bars. I compared the 175x AAF timeline to a Same As Source QT export (source media Apple ProRes MXF) – ussing the Bars, and they are reading the same on the scope.

So it theory if a Round Trip workflow using the DNxHD 175x is preferred, there wouldn’t be any image loss transcoding it to DNxHD 175x vs using Scene Detect on the Same as Source QT. Agree?

Double checking before I commit, mainly because there are some dark car interior & night shots, and I don’t want to introduce any unnecessary compression etc .. over processing the footage.

Thanks again for your feedback, much appreciated.

[Andrea Klipp]

Thanks for the response ~ that’s what I was afraid of. I noticed in AVID when I prep the AAF, the option to Transcode the media is available. I tried a test piece and transcoded to DNxHD 175x – and it worked. My main concern is not over processing the footage. When you exported the Apple ProRes 4444 – did you notice a colour shift? In general we’ve been seeing a colour shift with the Apple Codecs at export – ProRes, as well as H.264 screeners. If you have any suggestions on how to limit that shift, or if transcoding again at the AAF stage, they’d be appreciated.

Thanks!

[Andrea Klipp]

Thanks Jan~
Do you know if there is a contact in Canada? We are in Vancouver.

[Andrea Klipp]

Hi Brian~
I was online researching a p2 card crash, and came across your thread. I was wondering if you had any success in recovering the data or if it did end up being lost. We had a similar situation happen with a 16 GB P2 – E series card. I was transferring it off the card to my laptop (PowerBook g4) through the PCI slot. My computer locked up, so I had to force it down, and restart it. When it came back up – it would not recognize the card – it wouldn’t mount. I was able to see it under disk utilities, much like you did, and had the same results. I even tried it in a P2 Store, and no luck. I tried putting it back in the camera, and it said there was a format error.

We too have critical interview material on this card – so before I chalk it up to lost forever, I want to exhaust my resources.

If you have a chance to get back to me, I’d greatly appreciate it.

Thanks,
Andrea

[Andrea Klipp]

Thanks for responding to the post. It turned out that it was my device setting – It was on the Panasonic 720p 59.94 – and after switching it to Sony 23.98 – poof the error went away.

Cheers,
Andrea

[Andrea Klipp]

Thanks for the response. It appears that it was the device control setting that was throwing it off, and giving me the error. After trying a couple of alternates, we got around it.
Cheers,
Andrea

[Andrea Klipp]

Thanks – we are a couple weeks away from Online – but these point will be very helpful!
Cheers,
Andrea

[Andrea Klipp]

Sounds good to me – I just want to make sure I am maximizing picture quality. But if there is minimal difference between the other codecs – then DVCPro HD it is.

Thanks!
Andrea

[Andrea Klipp]

Thanks! I think I’ll stick with the Kona 3 -and to be safe reload. There are multiple editors working on the project – so it’s best to have it all be the same – as slipping and sliding may throw some of them off. 🙂