Glenn Camhi
Forum Replies Created
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Mixer solved those last two bits. Thanks again on the rest, Mark.
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Thanks again, Mark.
Great, that makes life easier. Now I just have to find out from my mixer why certain sounds are lost in the Lt/Rt mix, and why it eliminated pans.
And yep, on Blu-ray it’ll just be the 5.1 mix. (Ultimately I won’t be authoring the discs at home, I’ll have it done properly. Just testing things for now.)
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Thank you very much for your help, Mark!
One other question then. I’m also delivering files soon which will be put on an HDCAM SR master. HDCAM and Digi Beta copies will be made as well, since those are the best formats that some festivals can project. Many festival theaters can’t handle surround, and I have no clue if they can handle Pro Logic II. So, is it a mistake that the two mixes I was given are 5.1 and LtRt? Should I have gotten a straight basic stereo mix? I thought that’s what LtRt functions as when projected at a place that can’t handle surround. Not so much?
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My mixer sent me the mix in the order L, C, R, Ls, Rs, LFE. Should I switch it to the standard you mention? I do see that more often.
However, for the Settings, under “Audio Coding Mode” (in the Audio tab for the Dolby Digital Professional file format), the only option that has all the channels is “3/2 (L, C, R, Ls, Rs)” with a separate checkbox for LFE.
Is that the one to choose? Or “Automatic”?
Thanks!
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Never mind about sounds not coming through the surrounds. Someone helped solve that.
But could still use help on the rest.
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Source files were created at record. Final output being done via Export / QuickTime Movie… using sequence settings.
Thanks again for correcting my misunderstanding.
Funny, I tried searching for where I ever saw the “up to 12-bit” description, turns out it’s the same paragraph quoted on a bunch of non-Apple sites, including the ever-reliable (heh) Wikipedia. Though the Apple Color manual does include this even more curious description, a typo I assume: “Apple ProRes 4444: The highest-bandwidth version of Apple ProRes, suitable for high definition or digital cinema mastering. Lightly compressed, with a variable bit rate (VBR) depending on frame size and frame rate. (An example is 330 mbps at 1920×1080 60i or 1280×720 60p.) Encodes video at up to 10 bits per channel with 4:4:4 chroma subsampling.”
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Ah, okay, thank you Jerry. Thought I’d read some time back that PR4444 can be 10-bit, and Apple’s description of the codec says it can be “up to 12-bit,” which I thought was an odd wording if it’s always 12-bit. But perhaps they meant what you meant. It does make more sense to me if it’s always 12-bit.
It gets more confusing (to me, anyway), since PR4444 is 12-bit RGB, while the other PR codecs are 10-bit YUV, right?
Anyway, our source footage is indeed 12 bit (captured with an ARRI Alexa). I wasn’t sure if the bit depth ever changed, either via Color round-tripping, or exporting from FCP to QuickTime. The finishing facility is asking if the QT file we’re delivering is 10-bit or 12-bit, and I just wasn’t positive.
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Martin, thank you — a few years later — for saving us a lot of time! That’s an elegant method.
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Thank you for the fast reply, Walter!
FWIW, I see the problem in QT as well, not just FCP. But that would make sense if they’re doing the same thing.
In Item Properties, there’s nothing listed next to Gamma, and right-clicking will not allow me to add anything for that particular setting.
I can however just add a gamma filter, and I find that a setting around 0.82 seems to match, at least on quick initial glance. I was just hoping not to have to alter the image any more. Alas, so it goes. The release of FCX is sending me to Avid next, so this is a temp issue.
Thanks again.
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P.S. By “something else was different,” I mean perhaps something inadvertent that we didn’t even notice. Who knows? Maybe the computer was just in a better mood.