Bouke Vahl
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Apple Final Cut Pro X Coins
8
COW Coins
Forum Replies Created
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Modern systems can retain a UMID (Unique Media IDentification) number, that could be used to match back to the original sources.
BUT, that should be retained in the transcode, and the whole workflow must retain this.
The only way to be sure it will work is to do a (simple) test and see if the guy / software after you can easily relink if needed. (Avid and Resolve is a nice combo, if the metadata is there, it ‘should’ work.)So, test, test, test. Always do. Never assume anything to work if you did not test it.
Bouke
http://www.videotoolshed.com -
To explain a bit on what QTchange does, and what to expect.
An ‘audio track’ in QT is 1 block of audio data in the file. That can be a single channel, or more than one.
You can see it in QT pro.
So, if a clip has 4 sound channels, it could be there are 4 audio tracks with each 1 channel, or 2 audio tracks each with 2 channels, ore one audio track containing all 4 channels.QTchange can flag an entire track as being enabled / disabled. But this of course then goes for all channels inside that track.
(Hence in the old days most pro formats had discrete tracks, sometimes even in seperate files.)To make it more complicated, not all software will honour that flag. (It is nothing more than a simple warning in the file ‘mute this’, the data is still there.)
Bouke
http://www.videotoolshed.com -
Hey Mark,
Glad you took the effort.
(Tried to flag troll myself a couple of times but that seemed without effect.)
Do note that I got posts pulled for way less, but I totally agree, and hope this one stays!Bouke
http://www.videotoolshed.com -
My bad, I was mistaking public access TV with PBS.
Next, don’t mix up DVD (a digital storage medium, capable of storing UHD HDR if you like) with DVD video (a low quality ancient obsolete system to replace VHS.)
Third, you did not understand anything I wrote in my (seems moderated) previous message, did you?Small hint, when I told you to send them your raw footage, I was being sarcastic.
This is (@moderators also) a form of humor.Bouke
http://www.videotoolshed.com -
Don’t worry too much.
Well, concidering a theatre has way more dynamics than on normal TV, your problem is not there.
EBU R128 is a very relaxed standard, most broadcasters allow for short peaks in normal content, just don’t go over -1 (that you never want anyways.)
So, the only thing is loudness. AFAIK, it’s also -23 or at least very close. (I do cinema docs occasionally, and do not notice a difference when I use the TV mix).
Get one or more of your outsourced mixes, measure the LUFS and stick to that. For the rest, just mix to your ears.(If you do find some specs somewhere, please share them with me / over here.)
Bouke
http://www.videotoolshed.com -
[Cameron Dozier] ” the only way”
Nah, unzip and a ruler.
(And if I would participate a folding ruler of course.)Bouke
http://www.videotoolshed.com -
No, it does not. However, with finding a shutter / framerate combo that is in the sweet spot you can eliminate it.
But, afaik, you cannot fix 60Hz flicker on 25 FPS by setting the the shutter to 1/60.
At 60Hz, the light is ‘on’ 60 times a second, while you record 25 images a second.
In some of the images the light is on, some it is off.
So if you manage to set the interval from the shutter to be inside the recording of a frame AND be a harmonic of the light flicker, you’re good.Next, shoot 30 fps under 60Hz light and tell me what shutter to use to show flicker.
But lets agree to disagree.
Bouke
http://www.videotoolshed.com -
This seems a nonsense discussion.
The flicker comes from a mismatch between framerate and light flickering.
Old style fluorecent lights, and I fear (at least some) modern LED flicker at the AC net frequency. 50 Hz in Europe, 60 in the US.)
Same goes for (crt) monitors.
To avoid flicker you should match the framerate to the net rate if there is a danger, or have dynamic shutter so you can find a harmonic frequency to find a sweet spot.
It has nothing to do with motion.
But, a low motion blur video (like rolling end credits without MB enabled) will flicker also, as 24 / 25 / 30 is NOT the framerate that people cant tell the difference anymore.Bouke
http://www.videotoolshed.com -
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Tweaking should be done in your NLE if needed.
Only if you have a huge batch of stuff that needs the same tweaking it’s a good idea to do it in your compression applicatin.
Now, to compress, from the sound of it you only need one output format.
Get a solid workflow (eg, always export to XDcam from avid) and feed that to FFmpeg.
Get a good recipe for that (if you want, trough a front end) and be done with it.It is good and fast, totally outperforms Squeeze, and free.
Bouke
http://www.videotoolshed.com