Joseph Owens
16
COW Coins
16
DaVinci Coins
Forum Replies Created
-
[Craig Seeman] ” that scene in Network.”
The year I started in television. What a load, and quite a bizarre mix of neo-social solipstic capitalism that obviously did not figure on the 0.1% and their views on a universal utopian construct. But not out of character mental-health wise.
Note: Peter Finch won the first posthumous Oscar for that role, mad as hell. It was quite a shock.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
-
When you are advised to recompress your H264/mp4 type footage to a format like ProRes, what you are really being asked to do is convert your footage from a “Long-GOP” (Group-of-Pictures) format to an “intra” format.
What this means is that the editing application really wants to deal with a stream of data that is composed of discrete frames — that is an actual 29.97 frames per second (if that’s the format you’re working in) rather than the extremely highly compressed GOP strategy of providing 2 whole frames per second with the rest being “difference” predictive and bi-directional data, and that is your MP4-type codec. This also applies to formats like HDV, and is made even more complicated when the camera is producing 24 fps material, but being recorded to 29.97 Long-GOP. Its a nightmare.
The editing software has to create the discrete frames “on-the-fly” when you are trying to work with a GOP format. FCP never really got the hang of it, although what does exist almost works well enough to lull an operator into believing it will work. Another triumph of engineering over common sense. But when the shoe drops at the end of the day, it is time to pay the piper. Creating a low-bitrate MP4 from an HD ProRes timeline takes quite a while by itself, but the double expansion/compression of coming from a long-GOP source, edited on an intra timeline and then recompressed back, with the ibp re-ordering that is involved, is guaranteed to stack up the render big time. Even exporting a 1080P23.98 ProRes 42 minute show will take 14-16 hours if you want it converted to interlaced 29.97. I have seen the same project take up to 26 hours to yield a streaming H.264.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
-
[Craig Seeman] “I believe you can see examples of that when some film productions are done in Canada instead of the US.”
Or Bulgaria, or Spain, or Mexico, or Romania, or Belgium, or pretty much every other country on the planet.
However, where does the post go? Think you already know the answer to that one. Virtually all of the incentives for so-called “runaway” production conform to the Panda model — the kind that Eats, Shoots & Leaves. There is a small amount of craft services, greens, electricians, painters, carpenters — not exactly high-tech, and not even dailies anymore. And even when there is a considerable amount of local matching funding, eventually the entire local crew is fired for some kind of “incompetence” or whatever convenient excuse can be had, and the “A” team is parachuted in. You may think I’m making this up…
But check out the documentary “The Corporation”.
https://www.thecorporation.com/index.cfm?page_id=312If the business entity is not operating in the same mindset as a human psychopath, it is not likely to be successful. The difference is that the corporation is an immortal, it cannot be incarcerated or contained and the rules of humanity do not apply to it. The Rule of Law and the Social Contract are beneath the corporate aristocracy. When the POTUS asks who the government of that country is acting on behalf of, it is a very, very good question.
However, the real reason why those aforementioned “ProApps” are so modestly, some would say “reasonably” priced, is that they are obviously intended to sell to a mass market. Not a niche market.
So enthusiasts can bang together their home-movie travelogue including their trips to Macchu Pichu and underwater high-speed photography of surfing the big waves off Maui, while browsing textiles at the grand bazaar in Casablanca — you know, the places I hang out every weekend. To a psychopath, this makes perfect sense.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
-
[Paul Dougherty] “a mis-match. Which doesn’t make sense, there is no other copy to that it could be mixed up with… corrupted?”
That’s what it sounds like.
Check your source media directory for clips that might have a -v added to the filename or no .mov suffix, stuff like that. I’d be just as baffled if for some reason a file became “spanned” if there were some OS issues. Normally when this happens, I end up manually moving source clips and re-imbedding, &c.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
-
[Matt Frame] “Also, as an aside, would the blu ray simply play the audio as 2 channel stereo if the end user does not have DD 5.1 capabilities? “
That should be the default behaviour of a modern disk player, which should be the case for anything that is BluRay capable. Its why dial-norm is one of the more critical factors to get right, so the mixdown is not wildly different.
Discrete surround is of course preferable to almost anything else, but there is also a case to be made for LtRt Dolby ProLogic, which can deliver a surround-like experience for the desktop/stereo viewer, but can be handled exactly like stereo.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
-
[Juan Salvo] “I think what Rick is looking for is the “save with version” check box”
Maybe so. Frankly, unless the grade is wildly different from the source, having the metadata and going from RAW source seems like a layer of complication that is more bother than its worth, both in terms of source media overhead and deBayer-process cycles.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
-
[Nick Meyers] “an outline is more common than drop shadow”
I usually go with a 1 pixel outline when creating subtitles in MacCaption or Encore.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
-
[Matt Frame] “I am wanting to use the .mov file to burn a Blu Ray DVD (via Titanium Toast 11) but I need the audio to remain DD 5.1.
“A rather lossy way to do things.
First off, I use Encore to author BluRays, so I export an H264 transport stream and an ac3 file and link them on a timeline in the disk authoring software.
There is a way to create a multitrack surround Quicktime out of Final Cut, it involves discrete 5.1 channels on the first 6 audio tracks (L,R,C,Lfe,Ls,Rs conforms to SMPTE spec) but not an ac3. You get some degree of control over audio track number and assignment when sending the sequence to Compressor.
FCP defaults to “stereo” output unless you change the sequence settings to “surround” and then stickhandle the audio track assignments. This has been covered a couple of times in the forum and should be searchable.
Whether you can port the surround channels through Toast Titanium this way or not… wouldn’t be the way I would try to do this.
Might be easier to try to get the “Share to BluRay” to work… and good luck with that…
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
-
Maybe you can disconnect the remote/local grade copy settings. Remember that the clip you are working on is actually the whole clip as it exists in the “Master” timeline, and that is how that grade gets rippled into other instances of that source media. Copying and re-imbedding the clip will not change that hierarchy.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
-
[Craig Seeman] “we might be clued in on potential advances in both the ProApps or, at least, the OS they depend on.”
Like OS 10.8.4, or beyond, which should open up more GPUs to we of the Resolve community.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.