[Michael Gibrall]

John:

I played back the ProRes 422 HQ file on a Mac this morning. It looked great!

So now I know the file is just fine, it’s just playback on a PC.

Thanks for your help!

[Michael Gibrall]

[John Rofrano] “I just reread your post and wanted to point out that the beauty of Avid DNxHD is that it doesn’t suffer from the gamma problem between PC and Mac. What you want to do is transfer the DNxHD file to the Mac and convert it to ProRes 422HQ. Then check that the PreRes version and the DNxHD version look the same on the Mac. That is the real test.”

The reason I made an uncompressed quicktime film of the film (using your instructions on how to do so, BTW, and thank you) is because, while DNxHD is supposed to be a great format, going uncompressed as my source file with zero quality loss would preserve the best possible quality on the conversion, even if you may not notice it after a prores conversion of the DNcHD file.

I’m going to see about your first suggestion by playing back the prores 422 hq file on a mac before I proceed, but if I have to make a new file in the end, I guess I could go with the DNxHD as a source.

Thanks again.

[Michael Gibrall]

Thank you, John. I’m going to call a friend that has a Mac and play the file back there. If the problem still exits, I’ll follow up.

[Michael Gibrall]

Picture of timeline. Using VEG files.

[Michael Gibrall]

Thanks, guys.

80 minute film. I’ve grouped VEG files into the timeline. To make a long story short, it was easier for me to do it this way because if the various audio elements and unique masking or other processes I was doing to get the desired results. Standard stereo is just fine, so this works out.

Believe it or not, file size to me is irrelevant. I just want the best quality. But I do want it set up to compile all of the settings the video was recorded in, without overkill.

I see a setting for 444 video when using the guide supplied by John Rofrano, for example, for resolution settings, but know it was shot as 422 with the 5D Mark III, and 444 would be overkill. And I don’t see an option for 422, unless I’m missing something. So I can stick with 444 as overkill, but I would like to have all of the settings using the existing parameters of what a 5D Mark III records without having settings go over what it was natively recorded in. i.e. do I use 8 bit?

What I want is, regardless of file size, to have the best quality DNxHD and uncompressed quicktime. I may have to go uncompressed quicktime for both archiving and to make a pro res 422 hq file, as the mac driver for dnxhd hasn’t been recognized in the many different mac’s I’ve tried to use them in. I’ll use mpeg streamline to convert the uncompressed quicktime to a prores 422 hq file.

Thanks in advance.

[Michael Gibrall]

Thanks, John.

I guess there’s no need to compile as both m2ts and avc if the quality is the same. File size isn’t an issue for the disk.

[Michael Gibrall]

Thank you, John.

I re-rendered in 23.976 and have the appropriate SCC file fro 23.976. One for each given framrate.

[Michael Gibrall]

Thanks.

I have the file, so the work is done until it’s sent to a distributer to merge with the master file when they clear it for release.

I’m just wondering if I have to render an SCC file in both 23.976 and 29.97 and have to have separarte files for the separate frame rates, or will it telecine automatically on import?

Thanks again.

[Michael Gibrall]

I am told by my friend with a Mac that his is pre Snow Leopard, and his system at work has Snow Leopard.

In both cases, the result is the same.

It can’t read the video, only audio playback.

Any other ideas?

[Michael Gibrall]

Thank you all for your help.

I just got back in town yesterday.

I don’t need an alpha channel.

So, may I ask what the best quality, recommended render would be for a film shot on a 5D Mark III without overkill?

I’m going to try both rendering a new file, and ask my editor friend about the age of his Mac, his workplace Mac, and see if it is indeed hardware and/or OS related.

Thanks again.