Andrew Rendell
Forum Replies Created
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IIRC, HDV is normally 1440 x 1080 non-square pixels, and whether the NX-5 records 1920 x 1080 square pixels or 1440 x 1080 non-square depends on what you choose it’s recording format to be.
In my opinion it’s not a huge issue to be worried about at this stage, certainly making sure that you only ever use an i-frame codec for editing, not a GOP based one, and don’t mix codecs on a timeline are much more important.
Over here technical standards for broadcast are published by the Digital Production Partnership
https://www.digitalproductionpartnership.co.uk/ -
I’d go for aaf. Embedding is an option for aaf so you might need to dig into the settings to enable it.
omf is an older format with some limitations, such as file size, so although it should be fine for transferring media between NLEs, in practice it’s always a bit fussy and the newer format is just… well… better!
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Quote “So it looks like the footage could be coming in as 10-bit 444, and have to run through a LUT?”
That “could be” is an extremely important phrase… best ask the filming crew what it’s being recorded. Otherwise we can only speculate.
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That is indeed my arm. I can tell you when the weather changes without looking through a window, but most of the time you wouldn’t notice anything unusual. Slightly lost the taste for very powerful motorcycles though.
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There are actually two issues, the file type, which we call the container (things like .mov, .avi, etc) and the codec (the way the pictures are represented within the container).
The file type is the straightforward bit to advise on – FCP, being a native Apple product, works best with Quicktimes, i.e., files ending .mov
Codec is slightly more tricky. For quality keep the codec the same as it was edited with (you get some quality loss every time you process between different codecs). The disadvantages are size (editing codecs make large file sizes) and those files might not play on other computers because those other computers might not have the codec installed.
Web sites are harder to advise on as there are a handful of different files in use, so you need to speak to the website authors to see what they need. If in doubt, I have found that making a high res quicktime in H264 (picture) codec with the quality slider pushed up to the Best end and with .aac audio will usually be acceptable as that can be played by almost all computers and converted to whatever format a web designer needs without too much degradation.
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The first thing I’d look at is how big your project is. I’ve had some very slow opening projects that were very big, like over 80 – 100 GB, so I try to keep my projects under about 50 – 60 GB max. So on big jobs I’ll have only the rushes and my main cut in the master project and have another project (occasionally 2 or 3) for previous cuts, compiles, etc.
As you’ve had a crash, you might have corrupt or damaged media or render files, which can cause problems (including a project being slow to open or crashing the software). If you create another project and move your media over to it in blocks you might be able to identify corrupted media files (since the problem will move to the other project when you get to it/ them). For render files you could delete render files (and re-render your timeline) to find/ resolve the problem.
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Well, yes I’m still delivering tape to some broadcasters, but I don’t own any decks, I go to a facility for that.
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It does kinda strike a chord 🙂
TBH, I got a Fuji X10 on a whim a few months ago and it’s really rekindled my enthusiasm for stills.
Anyone remember this? https://www.youtube.com/watch?v=i_Yo3FRPeQw
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Not something I particularly worry about since I always correct my levels and only ever use the broadcast safe filter to catch any odd peaks that I might have missed, but I’ve just looked at the broadcast safe here and it does indeed allow sub-blacks in the RBG. The composite waveform is properly clipped though, so I guess the filter only legalises luminance and not gamut…
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It is the Director’s job to ensure that what you need in the edit in order to tell the story gets filmed and in the edit must oversee how the story is conveyed, taking an overall view when the craft people are consumed by their individual details.