Michael Phillips
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COW Coin
Forum Replies Created
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Below all the things you mentioned in Source Settings is a menu for letterbox, center, squeeze, etc. Set that one to get what you need.
Michael
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Just for complete info, the file is 50fps but the project timeline is at what rate?
Michael
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Also, keep in mind that DNxHR codecs are all progressive. Are your other camera sources interlace?
Michael
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A little more detail… I agree with Shane that rendering FluidMotion as a final effect using proxies is not the way you want to go if you have the camera masters available to you. On the other hand, though, you can export the rendered effect as OP1a where the sequence name is the file name you want to you use and the sequence timecode can be defined. This allows you to make new submasters that are real sources very similar to how a VFX pipeline works in an offline/online editorial process. I did this for about 10 shots when conforming “The Iceman” as they couldn’t quite recreate the look they fell in love with during editorial:
- Conform in MC to camera originals for shots needed
- Mark-in-out in sequence – either subclip sequence to use tracks and marks in export settings
- Name the sequence or exported file in the manner you want to manage shots –
- Export OP1a or sequential DPX
- Relink AMA to export and edit back into the timeline so all AAF/EDL represent the new source.
Michael
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The render would have used one of the Avid codecs available, which one and if DNxHD/HR which data rate? How did you export back to PPro?
Michael
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I’ve seen the same behavior on the latest release as well. I’ve reported it and waiting for a response.
Michael
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As Job says, PhraseFind and ScriptSync are kissing cousins but each has its own advantages and disadvantages. Would be a great marketing piece to have where both are discussed in context.
Michael
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Regarding A7s footage… here are all your solutions to work with it:
https://24p.com/wordpress/?p=368Michael
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I wish we could select DNxHR in a 720/1080 project!
Michael
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The first 6 or so are I-frame based codecs which take up more storage than LongGOP codecs but are more efficient and hold up to multi-generational loss a lot better. DNx flavors are Avid native codecs developed by Avid whereas ProRes is also native, but developed by Apple and can be decoded on Mac and PC but only encoded on Mac.
The multiple flavors of each are encoding data rates and different in bit depth. Anything with an x after it is 10 bit. Naming changes with DNxHR where the different levels are also different data rates and bit depth.
It is a balance of choosing based on storage, source codec, desired bit depth, detail preservation (based on the type of content), and your workflow offline/online, online online, etc.
DNxHD is for HD formats 720, 1080 and 16:9 aspect ratio only, whereas DNxHD is scalable at most any resolution and aspect ratio. If you make an HD project, you can’t select DNxHR. More info on DNxHD from the original whitepaper 10 or so years ago:
https://www.avid.com/static/resources/US/documents/dnxhd.pdf
Michael