David Dubé
Forum Replies Created
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I would create my graphics in 1280×720 square pixels, someone please correct me if I’m wrong.
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Very interesting post Rafael, I guess I didn’t look at it this way. So if I edited with no effects, text or whatsoever, on output FCP would just “restitch” the video without recompressing. Then no generation lost. But as soon as I add text or effects, in rendering it recompress it, so better go for a loss less format. So basically, if I edit let’s say, in ProRes 422, add some texts and effects and then output in ProRes 422, my footage will be degraded one generation ?
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There’s no gain in transcoding to a higher bit rate format than your sequence if going to compressor for a web or DVD output (which I’m assuming is the case here). If you were exporting for color correction, that’s another story. Export with your sequence settings, that’s all there is to it.
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You don’t mention what format you are editing but you don’t have to recompress to ProRes. Render your sequence than just go File- Export – Quicktime movie – Current settings and uncheck “make movie self-contained”. Import that file in compressor. Or render your sequence and right-click on it in the browser and select send to compressor. Either one is fine, though I prefer the first method…
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True match your timeline settings to your clip’s. If you have multiple formats in one timeline:
Select unlimited RT and set playback quality to dynamic, frame rate to full. See if your machine can handle it…
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Very impressive demonstration of the Alexicc software on this site. Simple question though, if we only transcode to DNxHD 36 (no QTs) on an 8-core (16 thread) MacPro, what kind of performance can we achieve ? I assume that processing is the bottleneck here and having faster drives won’t change render time. Also, is it possible to have multiple ICC profiles for multiple “basic” shooting conditions (ie: sunny, night, overcast, underwater, etc.) Thank you !
David
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Hi Neil, thanks for your advice. We have heard things too about long term use of AMA. At any rate we will probably transcode to DNxHD 36 for dailies, offline edit and archival on the boat. From there we can just import it straight as managed media in MC. As for the “hard import” I haven’t tested it yet but I don’t see it being very fast. Thank you,
David
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Ok thanks I’ll test those settings and repost here for reference, thanks a bunch !
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Maybe I didn’t express myself correctly. We’re going to stay Avid the whole way. My question is, can I transfer Arri’s ProRes files metadata to the proxies I will be creating to ensure a perfect conform later on. I was refferring to a software like fcp matchback magic as an example. Many thanks !
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Dear John,
Thank you very much for taking the time to answer my question in a smart way. I’ve worked with Episode before and it is fast. I would have to test it for sure but I think you’re right about the render time. If I can also do a basic color correction directly in the software, all the better. Also, a cache-A system was also part of our back-up and shipping solution. Finally, with this workflow, I’d like to incorporate a solution like the Matchback magic software for FCP but for Avid, to insure an easy conform later on. Do you know of anything that could transfer the metadata from my ARRI files to the proxies ? Could Avid MetaSync do the trick ? Then I think I would use AMA to get the proxies into Avid for logging, to skip the ingest. And then ship my bins, with the original media and proxies for further editing. Many thanks !David