Andrew Mckee
Forum Replies Created
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I was under the impression that the 7d/550D/T2i had APS-C size sensors like Red and 35mm and the 5D had a full frame sensor, larger than 35mm film.
Andy
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As you have an Adrenaline system I would personally stay in HD until the last possible moment. It will use more space, obviously, but any resizing you do will be sharper and just generally DNxHD holds up better than DV420 once you start doing any effects and colour correction. I am trying to think whether if you switch the project to an SD format but leave the footage as is without transcoding, Avid still accesses the res of the HD file when resizing. Maybe someone else knows? If this is the case then you could just switch the project to SD, do a mixdown of the sequence and you’d be ready to play out. Otherwise, you might try exporting a QT Ref of your HD sequence, then switching to SD and importing the QT Ref.
Andy
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As you have an Adrenaline system I would personally stay in HD until the last possible moment. It will use more space, obviously, but any resizing you do will be sharper and just generally DNxHD holds up better than DV420 once you start doing any effects and colour correction. I am trying to think whether if you switch the project to an SD format but leave the footage as is without transcoding, Avid still accesses the res of the HD file when resizing. Maybe someone else knows? If this is the case then you could just switch the project to SD, do a mixdown of the sequence and you’d be ready to play out. Otherwise, you might try exporting a QT Ref of your HD sequence, then switching to SD and importing the QT Ref.
Andy
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I know people who edit audio to a decent level on Video NLE systems but I have never seen someone go as fast as a good ProTools operator on Avid or FCP. ProTools is designed for cutting and mixing sound, it has support for higher sample rates, it has a higher internal bit depth and it gives you buses and aux channels and access to better plugins.
Andy
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Norman,
Whilst Avid only approve certain systems for use with their products, that is only because those are the systems they have tested inside out for performance. I’ll think you’ll find that most half decent systems will run the software without issues. There are some AMD chips which will not work with Avid but whilst it would be better if you had a QuadroFX card, I think your system should work. Rather than using NeoScene, you can just import most video directly into Avid and it will convert it to an editable codec. For HD, their DNxHD codecs are amazing quality. Some codecs can be imported using AMA without a transcode, but AVCHD and H264 (from the 5d) are not supported as yet. They will be by version 5 I think.
Andy
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Yep, has worked like a dream on all my projects. Much faster than having to digitise tapes, which is the whole point of tapeless. I mean, what’s the point in tapeless if you have to just import instead and recreate media that already exists? Not sure about a worflow to rebuild consolidated timelines from the rushes. I suppose the solution would just be to keep the sequence that links to the rushes as well as the sequence that links to the consolidated files?
Andy
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I use version 4 put I’m pretty sure I did the same thing when I had 3.5 so let me just explain what I do. I copy media from the SxS, keeping the BPAV folder, over onto our ISIS. Each BPAV folder will go into a different folder named “Card 3” or some other sensible system. I AMA link in Avid to the folder which contains all my “Card 1”, “Card 2” etc folders and it automatically brings in all my shots. They appear as yellow in the bins to show that they are AMA clips but I just use them however I want them, rename them, sublclip them, edit with them, it all works and its referencing the full res media. Then once my sequence is editited I just consolidate the sequence like I would any other, to either DNXHD 185x or 1:1 and then its off the online. There is no need to reingest because you’ve not lost anything in the capture stage. I also find that you can keep the media and project quite seperate and then bring them back at a later stage just by redoing your AMA link. Avid is clever enough to link all your subclips and sequencnces to the media because it recognises the metadata. Although obviously your consolidated sequence will not link. This is all covered in the new Avid101 book if you want to grab a copy.
Andy
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Todd has got it mostly spot on, but I believe you can get a relay (from Zacuto?) that can go on your EX3 in place of the stock lens and then attach to the letus. You would still need the 35mm lenses but would get less light loss than going through the stock lens.
Andy
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Yep, as stated, your camerman really shouldnt be giving you rewrapped footage. Having the original BPAV architecture will let you take it into editing software easier. If they are using Avid its just case of mounting the volume and the clips pop up, no rewrapping required and its sounds like similar options are available with FCP and PP so why rewrap and limit yourself?
Andy
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I would have liked to see a 50mbit 4:2:2 mode on the 350. I would have emptied my savings account for that.
Andy