[Jeff Greenberg]

At 94 seconds, you could encode h.264 at around 1.6 mb/s and get under 20 mb (I’d also advise using AAC audio.) I’d feel comfortably with SD…and maybe 940×540. 720 will probably get too blocky and I don’t think you should try full 10800.

Best,

Jeff I. Greenberg
Author/Master Instructor/Speaker/Consulting
My contact info and more

[Jeff Greenberg]

It doesn’t matter *what* the rendering codec is if you’re looking for highest quality (MPEG2, a very common Premiere Pro sequence template is fine.)

If you leave the export of media at it’s default (don’t check use previews), Adobe Premiere Pro will create the highest quality export via Adobe Media Encoder- going back to the source footage.
The major reason to use ProRes, DNxHD, or cineform is to give you an I-Frame render, that’s reusable; perhaps you need it later in your post chain (or want to make your exports faster by rendering as you go.)

Best,

Jeff I. Greenberg
Author/Master Instructor/Speaker/Consulting
My contact info and more

[Jeff Greenberg]

Otto,

Uncompressed HD video is 6 gig per minute.
So, 300 mb per minute is very compressed already – this is actually pretty small for video.

So, I’d suggest if you want ‘best quality’ I’d leave the files alone and look at purchasing larger hard drives.

Best,

Jeff I. Greenberg
Author/Master Instructor/Speaker/Consulting
My contact info and more

[Jeff Greenberg]

If you were on v6 or later, I’d suggest using AMA and doing a direct edit or an AMA & transcode and then edit.

Since you’re on 5, you need to get the files into the Avid and AMA won’t help.

[Bartek Zee] “-is Clipwrap ok for the conversion here? I believe MC 5.5 can’t do AMA then transcode.
“

Sure can. Just convert to whatever DNxHD is appropriate for your resolution/fps – an example: 145 is fine for 1080/60i.

[Bartek Zee] “what codec is acceptable for a master on PAL-DVCAM and internet. My project will be down-converted for broadcast in SD.”

Well, PAL DVCAM is DVCAM 25. It’s pretty horrible. Likely you’re going to deck? Don’t even worry about this. Let the avid do this.

Internet? Again – I wouldn’t worry about this – use Squeeze at the end of your work to give you a decent quality file for your Internet destination. You don’t say what’s the intended output (self hosted, Youtube, vimeo, etc) so I can’t be more specific than that.

[Bartek Zee] “-import at DNxHD 36 or Apple ProRes Proxy via FCP and still be fine for the final PAL master? The internet file will be compressed H.264 so I reason the lossy/offline codecs here are fine?
“

Don’t do this. Don’t ever use a proxy unless you intend to do an offline/online workflow. Proxy files are never to be output. Ever.

Best,

Jeff I. Greenberg
Author/Master Instructor/Speaker/Consulting
My contact info and more

[Jeff Greenberg]

I’d do the usual – check the drive, check permissions, etc…

Generally, with the two methods you used, I expect about a 1 gig a minute or so transfer.

But your iPhoto Library is a ‘package’. OSX has to analyze to move the 15,000 or so photos + metadata that’s inside that package.

The initial calculation, I suspect slows down the estimated calculation since it’s not just a file.

Last, you might try using a unix terminal command and see if it helps (warning – do this on a small file first. Not your huge iPhoto library)
https://reviews.cnet.com/8301-13727_7-57467900-263/using-the-os-x-terminal-instead-of-the-finder-to-copy-files/

Best,

Jeff I. Greenberg
Author/Master Instructor/Speaker/Consulting
My contact info and more

[Jeff Greenberg]

John,

I’m not clear with what you’re asking.

All video (in NTSC) on a DVD is 720×480.

If the ‘4×3′ bit is flipped, QuickTime will auto correct to square pixels and it’ll look correct.
If the ’16×9’ bit is flipped, QuickTime will auto correct to square pixels and it’ll look correct

[John Slattery] “Some files come from old digibeta shoots (SD), some from higher-res shoots. But we don’t have any info on the original file size.
“
It doesn’t matter. Everything has been dumbed down to 720×480 on an SD NTSC DVD.

If you’re asking what the ‘square’ pixel sizes, it’s 640×480 for 4×3 and 640 x 360 for 16×9.

Technically there are a couple of other ways this can be handled.

Last, I’m hoping you’re not going to edit further with any of this video. If you ‘have to’ because of a clients needs, then I suggest Adobe Premiere Pro which allows editorial from .VOB files.

Best,

Jeff I. Greenberg
Author/Master Instructor/Speaker/Consulting
My contact info and more

[Jeff Greenberg]

Barbara,

File size = (Bit rate in Mb/s)/8)* seconds.

How long is your video? I can tell you the exact data rate it has to be to make sure it’s 20mb. That doesn’t mean it’ll look good. Just that it hits your target.

Best,

Jeff I. Greenberg
Author/Master Instructor/Speaker/Consulting
My contact info and more

[Jeff Greenberg]

Change the scale (you’ll have to click in the field) to -1. That inverts the data. You can adjust the scale higher/lower for a greater/lesser effect

Best,

Jeff I. Greenberg
Author/Master Instructor/Speaker/Consulting
My contact info and more

[Jeff Greenberg]

Eric,

So, I am very, very careful around partial ingestion. Mostly, because it’s going to force a transcode (a good thing).

Many of the file based camera formats use a very lossy compression – meaning you can only ‘snip’ at certain moments (and that’d require analysis!)

Prelude permits a partial ingest of only one in and out. It seems to be writing new metadata (to some degree, I think that’s the right thing to do, because there’s enough differentiation of the new media to the old.)

[Eric Chard] ” EG, in your example, there would be a lot of wasted disk storage full of useless chaff, just to get the multiple kernels of valuable footage. While subclips would helpfully isolate The Good Stuff, you’d still be stuck with all the chaff.”

Just a couple of thoughts…

Yup, lots of wasted disk space.

Disk space is pretty cheap and if I shot it, I shouldn’t overshoot. There’s a bad habit I see with file based cameras is the tendency to come back with 40 hours of footage for a 4 minute piece.

So, From the “Don’t edit before you edit philosophy, if you shot it, I want it.” If someone else shot the footage, shouldn’t there be a cost to them for overshooting? Whether it’s my time, hard drive space, etc?

The single ingest is (most likely) a design of lopping off of some of the head or tail of a clip, just to shorten it’s overall length. We’re suddenly going to pay the price of a transcode to do this (which should be building a less compressed file as well.

Last, this is version 1.0 of Adobe Prelude. I’m sure the next several iterations, we’ll see you some of these features like multiple partial ingests allow.

Best,

Jeff I. Greenberg
Author/Master Instructor/Speaker/Consulting
My contact info and more

[Jeff Greenberg]

It’s not in the audio behaviors. It’s in the parameter behaviors.

Alternatively, you can right click on a parameter (such as scale) and attach a behavior to that parameter.

bug me if you can’t find it.