John Heagy
Forum Replies Created
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[Stephen Franciosa] “canon h264 footage which has a data rate of around 45 mbps) do i still need to use pro res 422 which is around 145 mbps.”
You’re comparing apples and oranges. h.264 is a long GOP codec and ProRes is not. You get better quality at lower data rates with an long GOP codec but they are very hard to edit.
Which Canon records h.264 at 45Mbs? That’s very high. 21Mb is typically the highest. Once you get that high you might as well use MPEG2 like Sony’s XDCAM 422 which is 50Mb and hold’s it’s own against ProRes 140 all be it in 8bit.
John
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I’d be very interested in somebodies experience with a 5870 upgrade from a 5770. Is it worth it?
Thanks
John -
[Jack Lenk] “we have been using them to post our rough cuts from FCP7 into CatDV. No problems viewing the HD files, but *sometimes* the proxy (made by Worker + Compressor 4) comes out containing audio only. Why?”
It sounds like CatDV is not able to resolve the references video media in the FCP7 ref movie at the time the proxy is made. The reason you are getting the audio is because FCP7 doesn’t reference the audio… it self contains it so it can’t be orphaned like the video can. If an orphaned FCP7 ref file was sent to Worker to make proxy you would get only the audio.
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We’ve had success with the reel/TC coming out of CatDV. You listed Worker… try doing it with the Client as that’s what we do and it works for us.
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Consider setting the correct “reel” name in CatDV and export the files as Ref movies for Compressor. Compressor will then create files with the proper reel names. Be sure to check the Timecode track in additional tracks in the CatyDV export menu or the reel in the catalog won’t export to the ref movie.
We do this all the time. Nothing beats getting the metadata right from the start.
John Heagy
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[Penny Clark] “if it’s tape they want 1080p 23.98 4:4:4, it then continues to say a digital master is the same “
Sorry I missed that spec in your first email.
4:4:4 from tape is very difficult. It requires a HDCamSR and a 3G or dual link HDSDI capture card. Given the final format will be 4:2:0 it’s an odd requirement. If your timeline is all ProRes 444 than fine – if it’s not, than I’d ask about ProRes 422. No point in converting 422 to 444 just to eventual go to 420. Sometimes these specs are “shoot for the moon, turn it to 11” overkill. Best to talk to the person doing the encoding.
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[Penny Clark] “Does that mean they’ve sent me the wrong delivery spec? I was just going off of that!”
What is the deliverable spec?
When I said “consumer deliverable” that meant the final end user file on the DVD or web site. The file you send is typically a mezzanine format of higher quality, 4:4:4 is really never that format.
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[Penny Clark] “It’s not for broadcast, it’s going to be on DVD.”
Same RGB vs YUV color space issue applies to DVD as well. No consumer deliverable is 4:4:4. The vast majority is 4:2:0 including DVD, BluRay, and h.264 web media.
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[Penny Clark] “Would the Apple Pro Res 4:4:4:4 be a suitable way to export my final sequence?”
ProRes4x4 is RGB… ProRes 422 is YUV (YCbCr to be accurate). Any broadcaster will require YUV for broadcast, so you’d be leaving that color space conversion to each broadcaster. This is something I expect few would have much experience with.
Sending ProRes 422 would be “Apples to Apples” as far as what you see and what gets broadcast.
I believe ProRes4x4 has the ability to be 4:4:4:4 in both RGB and YCbCr, but I don’t believe 4:4:4:4 YCbCr is enabled.
John Heagy
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[Shane Ross] “They will. When they run out of materials.”
Apple is expert at “just in time” manufacturing. They don’t have Mac Pro mother boards lying around. If they wanted to kill it they would have announced EOL by now.