Frank Gothmann
Forum Replies Created
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[Steve Connor] “Ok, that makes sense, does the quality hold up well when you re-encode them back for release”
Surprisingly well, depending on the source material and the encoder. Compressor does a pretty bad good job with film grain or noise present so we don’t use it for avc encoding; there’s also no segment based reencoding plus it’s slow as it doesn’t allow clustering for avc coding. It’s usually avc to dnxhd, cineform (soon probably Canopus HQX) or DPX if there is image cleanup involved and then off to reencoding. Bit crazy, I know, would be a lot easier from the original tape.
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[Steve Connor] “As a matter of interest why do you get files in this format?”
We do a lot of blu-ray authoring jobs (feature film) and we quite often get jobs where client wants changes to older discs (or double/tripple features, or lower age ratings which require cuts for rerelease, or different trailers etc.). They often don’t have the original masters anymore (mostly SR tapes which were on loan) so we have to work from their checkdiscs and dig the avc files out of the bdmv folder.
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[Jim Giberti] “It’s h.264 as most of us use it – right out of the camera. In this case 5D IIs, files dumped right from the CF cards onto Macs and edited directly into the timeline in FCPX.”
Yes, but that a very different kind of h264. Most NLEs can handle that. My post was specifically with regards to blu-ray h264 (files which are high profile 4.1) as par Mr. Schechtman’s statement. I have to work with such files very, very often btw. Without PP/Adobe Media Encoder I’d have a problem.
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[Craig Seeman] “H264 1920×1080 HighProfile@L4.0 CABAC .mp4”
It has to be 4.1 high profile to be blu-ray compliant. Can you try that? Use the compressor preset for blu-ray. File extension should be .264 or .avc depending on what encoder you use. Thanks for trying.
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[Jim Giberti] ”
It does Frank, in 1.0.3. I just finished a pretty detailed short using all h.264 directly in the timeline and it edited flawlessly.
“There are different flavours of h264. Are you sure it’s high profile. Basically, use the Blu-ray preset from compressor, encode something with it and see if X can digest it.
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[Craig Seeman] “I think he mentioned or alluded to limited experience with Media Composer. I don’t doubt that someone demo’d it to him and with his talks to other facility managers, he just wasn’t interested.”
Could be, but if I am going on stage presenting the state of current NLEs I’d actually look at, use and work with the apps rather than rely on hearsay.
I mean, I am not trying to bash him or anything, but it’s a paid sales gig by a Mac centric vendor so I take such presentations with a grain of salt.[Craig Seeman] “Have you tested in FCPX?
I’ve thrown a lot of H264 at it but I’ll check on High Profile specifically.”Not with 10.0.4. Don’t have it. The last version I tried was the 10.0.3 trial and it couldn’t handle it. There is also no way to play those files back under OSX apart from some under-the-rader open source tools that rely on ffmpeg.
Let me know if it works. I’d be pleasantly surprised if it does.——
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[Craig Seeman] “I think it was his attempt at humor. It’s also possible that he’s had a couple of serious downtime issues to the point where he detests windows. I can understand if that where based on maintenance experience. As UI goes, I think Windows 7 is fine. We all have our pet peeves. Windows is his. That does mean one has to assume he’s only talking about Mac versions when he’s talking about cross platform since he doesn’t see great value in cross platform.”
It seems he doesn’t know as much about the other NLEs as he wants to make people believe. Media Composer handles 4K? What? He even put that up on the presentation slide? And then he talks about all the different formats their edits consist of, including ripps from Blu-ray. The only NLE on the Mac that can handle h264 high profile is… Premiere.
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What pisses people of is simply the whole package – the app itself, the attitude, the silence, the pending demise of the tower.
It’s childsplay.
Seriously, listen to all the interviews conducted during NAB. You constantly hear the phrases, “switching, distrust in Apple, people being angry with Apple, fear of loosing the tower, reassurance from Adobe, Avid, Autodesk”.
It’s a very clear message, screaming in your face.
Any company with a little bit of respect for their customers would want to address such things – in the open. NAB would have been a perfect opportunity to do that. Show up, show comitment, talk. And don’t give me the “Apple doesn’t do tradeshows anymore” spiel.
If they don’t, that message is also clear so people start pointing the middle finger back.It’s the usual bull all over again with them hiding somewhere in a hotel suite and briefing a few privileged vips that have Apple’s blessing to spread the word.
I see Spectre’s Blofeld stroking his white cat, appearing on a monitor while the mignons are listening.
It’s a bloody NLE, not a secret weapons program.
People are making back flips because broadcast monitoring sort of works now. Wow, amazing.
And then I look at a Mac Mini cramped inside a rackmount server enclosure with “the favorite feature being the mechanical arm on the right hand site of the unit which transferred the on/off button movement to the back of the Mac Mini” – all for the bargain price of over 2.000 dollar.Can’t have any of this nonsense anymore.
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[Paul Jay] “Sure, and thunderbolt is consumer technology 10 times slower then USB 2.0.”
It is consumer technology, and so is PCIe3 if you plug a graphics card in it to play games. Seriously, an interface isn’t “anything”, neither consumer nor professional.
Statements like that are ignorant and twisting people’s valid criticism of Apple’s presumed hardware roadmap.——
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[Andrew Richards] “It’s an algorithm, not magic. I generated this graph with the numbers from Apple’s ProRes specs (because their table happened to paste perfectly into Numbers). Note the data rates are proportional to the number of pixels encoded. If double the pixels yields roughly double the data rate, it stands to reason that quadruple the pixels yields roughly quadruple the data rate.”
Also, all vbr codecs occasionally spike and sometimes quite substantially. 30 percent on top of the spec average isn’t uncommon.
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