Michael Hancock
Forum Replies Created
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Import P2 has been replaced with Avid’s AMA system from version 3.5 on, I believe. Read about how to use it in the help menu (I haven’t used it so I can’t help), or go through your settings and disable it and you’ll get the Import P2 option back (I think it requires a restart of the software after you disable AMA).
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Michael Hancock
http://www.oswaldcommunications.com -
[Alan Okey] ” Some people say that you can simply encode an h.264 .mov and change the extension to .flv and it will play back in Flash player. I haven’t tried this myself. “
This is what I do, and it does work. I’ve always been able to get cleaner h.264 encodes than .flv (I use Sorenson Squeeze) but our website was built for .flv files. So I encode h.264, change the extension, and upload.
Is Compressor multicore aware? If it’s not and Premiere is that could be why you’re seeing faster encode times through Premiere.
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Michael Hancock
http://www.oswaldcommunications.com -
Not possible in 3.0. This feature was introduced in 3.5.
For a few hundred bucks you can upgrade to 4.0, which offers a lot of new functions and improvements (including batch adjusting clip gain in a bin). Definitely worth the money.
Michael
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Michael Hancock
http://www.oswaldcommunications.com -
Hit Ctrl+6 on a PC or Cmd+6 on a Mac and it will open the console. Type it in the little box at the bottom and hit Enter.
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Michael Hancock
http://www.oswaldcommunications.com -
[Rafael Amador] “If your designer have a PC, will need to change it for a Mac if he wants to export Prores.”
That’s my point. Apple needs to open up these codecs so designers can encode to them without buying a Mac and FCS. If they want to charge for the codecs they should, but not being able to encode to ProRes (in any flavor) without purchasing a full edit suite ultimately means more workarounds and work for the editor.
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Michael Hancock
http://www.oswaldcommunications.com -
[Morten Ranmar] “You could install your own copy of FCP on the designers machine. “
And if your designer uses a PC?
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Michael Hancock
http://www.oswaldcommunications.com -
As far as I understand, it’s sending your computer signal to your monitor so it’s already in the wrong color space (RGB vs. YUV), and any interlaced material will look awful because it’s a progressive signal. You know how bad interlacing looks on your computer monitor? This is basically just taking that signal and throwing to your HD monitor. Going through Avid hardware handles the interlacing correctly so you aren’t looking at tearing and poor quality video.
There may be other more technical reasons but those are the two I know that can cause problems.
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Michael Hancock
http://www.oswaldcommunications.com -
The name of your master clips won’t matter. Avid relinks via embedded metadata in your media – I believe it’s tape name and timecode. If you’re doing a transcode to DV it should easily relink to the HD.
Again, test it to be sure you understand the workflow exactly and that it works exactly as you expect it to.
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Michael Hancock
http://www.oswaldcommunications.com -
[Lars Storheim] “Is this right?:
This method will not work with 720p50 material, because it doesn’t correspond to 50i? (like 1080i50 and 576i50) “I believe you’re right. You need to have a corresponding frame rate in SD in order for a transcode to SD to work. Now if your Media Composer is 4.0 you can mix framerates on the timeline, but that won’t help you with an offline edit on an XpressDV system.
Definitely test your workflow before you start any major projects. Especially if you’re shooting in HD only framerates.
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Michael Hancock
http://www.oswaldcommunications.com