Angelo Lorenzo
Forum Replies Created
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Here is what I want you to do:
Look at your original file in Audition in the spectral mode. Do you see a line going across the file in the higher frequencies or a heavy wash of energy in the higher frequencies? This is what hum/buzz would look like.
Look at your exported file in spectral analysis, does it have any hum or buzz in this view?
What is the file in terms of sampling? 48kHz 24bit? Lets say your sound card is set to play back 44.1kHz natively. Audition will process playback to match your sound card. These other audio programs probably aren’t so they’re relying on the resampling of the sound card. You may be listening to artifacts created by your sound card.
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Angelo LorenzoNeed to encode ProRes on your Windows PC?
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If you can’t control the lighting then your ability to judge color goes way down. Your eyes are biologically designed to shift color balance. That may be fine and well if you grade off scopes but your client won’t know any better if you’re in a supervised session. You could grade with the lights off but this induces eye fatigue quickly.
I use Feit Electric Ecobulb daylight CFLs which I found at Home Depot. Cheap and they have a color index of > 81; not perfect but a far better compromise then tungsten.
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Angelo LorenzoNeed to encode ProRes on your Windows PC?
Introducing ProRes Helper, an awesome little app that makes it possible
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks
Can your post production question fit in a tweet? Follow me on Twitter -
Ask your shooter what compression he used. Saying Quicktime is like saying you have a hard cover book, MOV is a container, but you can’t read it because you don’t know the language.
Quicktime 7 should come with a ProRes Decoder, but try https://support.apple.com/kb/DL1
It may be Avid DNxHD https://avid.force.com/pkb/articles/en_US/download/Avid-QuickTime-Codecs-LE-2-3-8
It may be GoPro Cineform https://gopro.com/software-app/cineform-studio (codec installs with free software)
These are the most common intermediate formats that may need additional installs to work. Do not install any non-professional codec packs like k-lite.
Alternately, did he just re-wrap the XDCAM footage to the MOV container? That usually isn’t supported out of the box (Apple never had a free MPEG-2 codec for Quicktime). You’d have better luck with the original MP4 or MXF files from the camera. If you don’t have time then you can re-wrap them to MP4 or use something like https://www.calibratedsoftware.com/QXD.asp
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Angelo LorenzoNeed to encode ProRes on your Windows PC?
Introducing ProRes Helper, an awesome little app that makes it possible
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks
Can your post production question fit in a tweet? Follow me on Twitter -
Menu > Window > Selection/View and you’ll get a new panel
Selection will show your in and out points along with duration. I and O buttons should function the same. This works in both single and multitrack mode.
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Angelo LorenzoNeed to encode ProRes on your Windows PC?
Introducing ProRes Helper, an awesome little app that makes it possible
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks
Can your post production question fit in a tweet? Follow me on Twitter -
What are you using to listen to it outside of Audition?
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Angelo LorenzoNeed to encode ProRes on your Windows PC?
Introducing ProRes Helper, an awesome little app that makes it possible
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks
Can your post production question fit in a tweet? Follow me on Twitter -
The files may be corrupted permanently, but have you tried switching SATA cables to relieve the BSOD errors?
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Angelo LorenzoNeed to encode ProRes on your Windows PC?
Introducing ProRes Helper, an awesome little app that makes it possible
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks
Can your post production question fit in a tweet? Follow me on Twitter -
That’s basically it. Resolve supports the original ProRes file so the XML is just a cut list. You aren’t exporting from Premiere and DPX is lossless.
If you have the drive space, the workflow is simple and solid. With DPX, it may be wise to also export out a ProRes HQ or Avid DNXHD 175+ copy of your full program. This will allow you access to a more manageable file if you need to go back and cut trailers, remaster for web, and so on. I know many broadcast TV shows that do this.
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Angelo LorenzoNeed to encode ProRes on your Windows PC?
Introducing ProRes Helper, an awesome little app that makes it possible
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks
Can your post production question fit in a tweet? Follow me on Twitter -
Sounds like a corrupted drive. You may be better off in a Window’s tech forum somewhere posting the dump file or the full text of the BSOD error (which now has a smiley face mocking you in Windows 8… thanks Avast AV for crashing my computer randomly) for confirmation.
If the files are still borderline playable then I would try rewrapping them with FFMPEG. You may be fighting wrapper corruption. Something like:
ffmpeg.exe -i input.avi -vcodec copy -acodec copy output.avi
I don’t know if FFMPEG even deals with OpenDML AVI files as these aren’t part of AVI’s official spec. I would use this to output the file to a different drive.
[Keeley Charlton] “Note: 8.30 GB unneeded bytes at end of file
Multipart OpenDML AVI (3 parts)
(13442 frames in first part, 84888 frames follow)”Sounds like wrapper corruption. Your drive probably wrote an erroneous bit somewhere or isn’t reading back what is on the disk properly.
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Angelo LorenzoNeed to encode ProRes on your Windows PC?
Introducing ProRes Helper, an awesome little app that makes it possible
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks
Can your post production question fit in a tweet? Follow me on Twitter -
DPX is the successor to Cineon, so consider Cineon a legacy format. DPX has some heft to it as it’s an SMPTE standard; I don’t think Cineon reached that status.
Currently, DPX supports 10 bits of data (albeit if encoded logarithmically, you get about 14 working bits out of it so far as I know) as do most high end video formats (ProRes 4444, Avid DNxHD’s 10 bit implementation, etc.).
I would probably go ProRes4444. It’s 10-bit and the lossy compression is fairly transparent. It’s easier to manage than huge image sequences.
If you’re working from 32 bit HDR originals, you’re locking in the tone map. If you’re working from tone mapped 16 bit TIFFs then you’ll lose some fidelity overall, but you aren’t clamping highlights or anything. 10 bit is enough fidelity for light to moderate color correction.
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Angelo LorenzoNeed to encode ProRes on your Windows PC?
Introducing ProRes Helper, an awesome little app that makes it possible
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks
Can your post production question fit in a tweet? Follow me on Twitter -
https://www.fallenempiredigital.com/blog/2013/02/08/a-guide-to-common-video-formats-containers-compression-and-codecs/ may answer some of your general curiosities. It’s a primer I wrote that goes over common containers/formats.
You’ll want to look into h.264 in an MOV or MP4 container for web in almost all situations, and MPEG2 for DVD. Generally, you’ll set the compression settings for DVD but your DVD authoring program will create and author the file structure to disk.
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Angelo LorenzoNeed to encode ProRes on your Windows PC?
Introducing ProRes Helper, an awesome little app that makes it possible
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks
Can your post production question fit in a tweet? Follow me on Twitter