Michael Phillips
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COW Coin
Forum Replies Created
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I have to say those specs look more like broadcast specs, than web delivery/steaming specs. But that being said, do a mixdown of your 23.976 timeline and make a new sequence from that with your audio. Open that sequence in a 1080i/59.94 project and when loading the sequence, you will be prompted for a conversion. Click yes. This will do a frame rate conversion from 23.976p to 59.94i with a continuous 2:3 pulldown. You can do a transcode to DNxHD of your choice, and export a QT reference or “same as source” and encode to those specs in a third party application like Sorenson Squeeze, Adobe Media Encoder, and even MPEG Streamclip to those specs. When exporting out, make sure you are set up to Rec601/709 for settings assuming your timeline and such has been corrected to SMPTE video standards for black and white levels.
As a side note, when I look at Netflix, Amazon, and other streaming services, they always want the content at the original rate, in this case you would be delivering a 23.98 H.264.
Michael
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well hopefully I’m understanding your dilemma correctly. It has been a request before, and discussed for a long time that the source monitor have track settings that override the source when clips are loaded. That would help somewhat in this scenario.
AutoSequence won’t do any track mapping but will create a timeline that contains all tracks of all clips. From there, you can insert audio tracks that will bump down existing tracks – this is done by holding down option/alt when selecting new track in timeline. So even though you have an A1, inserting an A1 will make existing A1 an A2, and so forth and so on…
Michael
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Try selecting all your audio clips and choosing AutoSequence with the option/ALT key. This will create a sequence for you in whatever sort order you have them in the bin. DO the same for the video clips and combine sequences (edit one sequence into another. Easiest would be to to inset video sequence into audio only sequence. On that sequence, in the timeline, insert audio track holding down option/ALT and you can select 1, then 2 pushing the others to 3+. Send to PluralEyes.
Michael
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I agree, and brought this up during beta. My previous response was what I got as a response.
Michael
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Avid’s position for 2K+ is to use NewBlue Titler. Personally I haven’t been able to use it as easily and quickly as Title Tool for the quick title jobs that make up most of my needs. I did just make some titles in Resolve and it was pretty easy to do, since my conform and finish where being done there anyway.
Michael
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Depending on speed of drives, drive connection, and complexity of edit as far as layers and effects go, you can certainly edit the AMA linked files directly. H.264 is not the most edit friendly codec, combined with the QT decode of AMA linked file, playback performance may be an issue. If it is not, then by all means, edit away and then save the transcode for delivery of just the sequence when done.
If you do need to render something while editing AMA links, make sure you set your codec and resolution in the settings tab of the project window to at least 115 to maintain quality.
If it were a longer project with lots of footage, the alternative would be to transcode to DNxHD 36 first, for offline editing, then relink back to the camera originals for final transcode/finish/delivery.
Michael
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I wonder if you made a grid in MC to make sure object of interst where in the frame, then using something like MPEG Streamclip to scale/crop to 640×640 would help?
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Instagram seems to like these specs, is that what the template is in Sorenson?
Composition Size 640 x 640
Frame Rate 29.97 frames per second
Length 14 seconds 28 frames – this gives you enough safety to keep Instagram happy…
MOV file format
H.264 codec
3,500 kbps video bitrate
AAC audio codec at 44.1 kHz monoMichael
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When you roundtrip to Resolve, why are conforming audio and sending it back? Just make a V only AAF/EDL for Resolve, and transcode just picture back with the updated AAF from Resolve. The AAF will link to the newly color corrected clips. Overwrite back onto a duplicated sequence of your original audio. A reminder to transcode with handles in Resolve to have some wiggle room for changes.
Michael
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Here is a blog I wrote on making LUTs available to all projects:
https://24p.com/wordpress/?p=178In 8.x, they added the ability to import a LUT into a project and have all projects access. In the v7.x world, they are only in that project’s LUT folder. You can pull it out of there and apply to the folder as described in the blog for all projects on that system to have access.
Michael