Bill Ravens
Forum Replies Created
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The answer is that….it depends. It is ambiguous as hell, and sometimes I think the vendors like that it is ambiguous.
True uncompressed is 1:1 with a full color space of RGB4:4:4:4. These days, it seems vendors are calling RGB422 ‘uncompressed’, even if there is data compression via other methods than color channel compression. They can refer to 8-bit data recording as ‘uncompressed’ even tho’ an 8-bit recording is not a full color space because of how much you can cram in an 8-bit data recording format. Needless to say, caveat emptor. It behooves you, as the prosumer, to understand the specs on color recording space, bit depth, interframe and intraframe compression and codec used. -
Chances are, one way or another, you’re gonna have to transcode your native footage to DNxHD before you export from Media Composer.This is true for certain FX or exports to Quicktime reference. So, importing AMA and transcoding within Avid MC is just one way to do this.
There are alternatives which allow trancoding to DNxHD before importing to Avid, then when you import, Avid will do a “fast import” which isn’t transcoding, just re-wrapping the mxf file. My favorite methods incluse pre-processing in Adobe Media Encoder, TmpgEnc, or Adobe After Effects. AE is a good approach since you can do some stabilizing or sharpening in AE before the fats import to MC.
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AHAH!
Many thanx, Darby! I’m not a wise-axx…just thickheaded, sometimes. That worked. -
no, this is a standard 8-bit.
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you should check the BMD website. The fix was released last week and works for me.
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Strangely enough, Adobe After Effects, as well as Adobe Media Encoder, will read LPCM audio in Sony AVCHD.
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If AE can do it, I suspect PP can do it. Give it a go.
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In certain cases, the 60i output is a container for 24fps with pulldown. You may be able to remove the pulldown to get back to the original 24/23.976 framerate in your NLE.
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Just drop them on the timeline head to tail.