Michael Hancock
Forum Replies Created
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With what Rory said, DVCProHD won’t get better at220. If they really, really, really want 220 or 220x you can just select your 145 clips and transcode them to the higher resolution. It would essentially be the same as transcoding the DVCProHD clips to 220. You can’t add quality that isn’t there.
Good luck with it. If they’re dumping back to DVCProHD, they’ve already wasted space by converting it to DNxHD145. Hope you don’t have to waste more going to 220.
Michael
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1. Load you audio into your source monitor, open your audio mixer (make sure your source monitor is active) and lower the gain. That clip is now lowered everytime you load it into the source monitor.
2. Map Fast Forward and Rewind to your keyboard instead of Next Edit/Previous Edit. Then it will go to the next edit but won’t go into trim mode.
Michael
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Call it a “rush charge”. If they ask what it is, explain that a normal work week is 40 – 50 hours, but this week you’ll be working 75+ (or however many hours you’ll work) to meet their “rush” deadline. So you’re billing time and a half over the normal work week hours.
Don’t be surprised if they pitch a fit though. Especially if you’ve done a lot of rush jobs in the past for them without the extra charge.
Michael
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Explain to me the licensing fees you think are associated with a BluRay burner. At about $230 a pop, hardly seems expensive.
https://www.newegg.com/Product/ProductList.aspx?Submit=ENE&DEPA=0&Order=BESTMATCH&Description=bluray+burner&x=0&y=0
Michael
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Go to your Settings Tab in your Project Window, open your General Settings, and choose whether your effect apeture is set for DV25 (720×480) or ITU601 (720×486).
Michael
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I don’t imagine the system is worth much, but is the Sapphire license transferrable/upgradeable? Those plug-ins are expensive, so keeping at least that and upgrading it (if possible) would be worthwhile.
Michael
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No problem. Glad it helped.
Michael.
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Ok, I added .mov as a file extension and it opens in Quicktime. I’m assuming it’s a quicktime movie since that worked.
In the Quicktime Movie Inspector it says it’s a 1080 60i clip in the HDV codec. I have no idea what HDV codec it is, but if you can get that info and find those codecs for your system you should be fine to import them.
Do you know anything about the source of these clips? What it captured into FCP first? Any way to find out?
EDIT: Ok, I just did some googling and it’s most likely going to require you to gain access to a FCP system. An HDV1080 60i quicktime movie seems to be a custom wrapping for FCP and can’t be read on a PC or a system without FCP installed. So the person that first captured this footage needs to either export it as a Quicktime file that works with your system (DNxHD should work, or even Quicktime Animation or PhotoJPEG), or you need to get the source tapes and a camera/deck and recapture into your system. Hopefully there’s another solution, but after a quick search that’s what I’ve come up with.
Michael
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If it’s showing up white when you import into Avid then you’re missing a codec. Doesn’t necessarily means it’s HD. Avid will downconvert on import if you import an HD clip into an SD project.
I downloaded the clip you posted–was there a file extension on it at any point? Right now there isn’t one, so it’s about impossible to determine what type of file it is.
Michael
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What is your source material?
The best quality would be 1:1 10-bit, which is uncompressed 10-bit. If you’re going with a DNxHD codec you’d go with 220x, also 10-bit.
Ultimately, it sounds like your resolution will be determined by the throughput of your EditShare system. Your producer can want the highest quality all day, but if you can’t play it back it’s no good to you. And if your source footage is HDV or DVCPro or some other compressed HD format, going uncompressed is a waste of drive space.
Michael