Brendan Maghran
Forum Replies Created
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Drive space is fairly cheap these days, if you can possibly afford to go get a TB or 500 gb drive, it will be worth it. Avid plays nicely with DNxHD, it’s native format. You can work through AMA with outside codecs like XDCAM and H264 without transcoding, but your workflow will be slowed down considerably. Material that is not DNxHD often plays back choppy and slow.
“Where that light source is coming from?”
“The same place as the music.” -
I agree, this looks like an actual zoom in, slowed down with added motion blur.
“Where that light source is coming from?”
“The same place as the music.” -
Sorry to pipe in when I have nothing real to contribute, but why do codecs play such a big problem in this? Didn’t you transcode all your different footage to DNxHD when doing the offline?
“Where that light source is coming from?”
“The same place as the music.” -
If you only want 3 clips isn’t the only was to achieve that by making them self contained QT files? If you can manage to find something uniform throughout (a clap, noise hit, camera flash) you might be able to sync them with inpoints.
“Where that light source is coming from?”
“The same place as the music.” -
Sure,
Since I hate dealing with decks, I’m going to explain how I would do it with footage already in Avid. But you can also capture at a low resolution and then re-capture at a higher one, but look up a tutorial for that I’m sure it exists online somewhere. Since I mostly deal with music videos, Canon SLR/XDCAM/P2 footage, here’s what i do (assuming full res files are in Avid already)
1. Organize and Bin HD footage accordingly
2. Locate Multi-cam footage and use “consolidate/transcode” function to transcode HD footage to compression ratio 28:1.
3. Take newly transcoded 28:1 footage and put in the bin you’re going to edit from.
4. Put original HD footage in separate bin, close bin (won’t come back into play until end)
5. Sync 28:1 multi-cam clips to your liking.
6. Edit
7. When you’re finished editing duplicate your sequence. right click on final sequence, hit “relink.” At the top choose the drive the mxf files are located on. Under “video parameters” at the bottom select “relink method: specific format.” Choose the ORIGINAL hi-res format that you captured the HD clips in. Avid should relink them just fine, and then you’re good to export full-res. -
Shane,
How do you transcode to 115 or 145 in a 720p 23.976 project? The only DNxHD options I normally have are 60/90/90X.
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I should mention I’ve never shot 60fps on HDCAM SR, so forgive me. But 60fps on 5D Mark II, and Sony EX-1 both look fine sped up, I just checked them out in a project I have open.
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Shoot slow motion in camera, 60fps looks fine sped up. Slowing down/speeding up 30fps in post adds all sorts of possible issues (Dup frames, poor frame blending). But I suppose it also depends on the look you’re going for with the fight. If you’re worried about frame rate problems, just conform your 60fps footage to 30p if that’s what everything else will be.
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Are you working from a tapeless or tape source? The transcode comment was just about editing at a lower data rate (prores proxy, prores LT) so you don’t hang your system and then upresing back to Prores 422 or Prores HQ. I’ve had some issues with HDV in the past that’s all.
https://library.creativecow.net/ross_shane/tapeless-workflow_fcp-7/1
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Thank you for the detailed post, very helpful for those of us who could not come see the unveiling.
-Brendan