Michael Phillips
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COW Coin
Forum Replies Created
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Or…
Select all clips in the bin and holding down the option (OSX) or ALT (Win) selecting AutoSequence from the bin menu. It will create a sequence of the entire sources in ascending timecode order.
Michael
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500GB will be around 30 hours of DNxHD36. You can certainly make “dailies” via an AMA linked transcode process if the resulting files and deliveries are what thy want. Transcoding is one part of a dailies process depending on what editorial specs might be as well as viewing dailies for others. If it involves any kind of basic shot to shot color balancing (usually levels), burn-ins, H.264 viewing dailies with watermark, etc, then using a third party tool designed for dailies workflow would be better.
AMA link and transcode is just that – makes DNxHD(whatever). You can apply a LUT if provided, then these are LUT based transcodes. These can work well if everyone is on the same page calibration and color space wise. You may get a set for INT/EXT/DAY/NIT combo or one for every scene, and hopefully not one for every shot, but I’ve seen overzealous DITs provide those. And even in situations when a LUT is provided, I have seen colorists balance out shots to look more uniform.
Then comes audio – double system? Sync? Mix track only or all tracks? Are thy timecode jam synced? I have seen dailies contracts that only called for ‘timecode synced” dailies meaning they weren’t responsible for non timecode takes. etc. Do they want 1/4 frame sync accuracy ad control? Or will they sync and you provide MOS picture transcodes only? Do you provide additional logging such as scene/take as well as need to generate producer’s reports?
As you can see, whenever I hear “making dailies” for a feature film, one or all of these needs come into play and a spec list from production and post are usually given before bidding. But the times are changing fast, but having something on paper that everyone has agreed to will save time and face later should issues arise.
Michael
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I don’t disagree one is needed, just not expecting it any time soon.
Michael
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I blogged about the loss of ALE application here in August:
https://24p.com/wordpress/?p=197
And how it can be used here:
https://24p.com/wordpress/?p=200
Michael
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I have no idea as to why “link to stock footage” would work in this case, but if it did, good for you! I cannot take credit for that. 🙂
When you do a relink, and you get that rather large, somewhat confusing dialog box with lots of settings, there is a small check box towards the top that says “relink to selected” But you have to have sequence and whatever master clips you want to have the relinked to active.
Michael
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I too am interested in hearing how this was encoded with very fast switch between video streams for YouTube.
Michael
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Have you tried “relink to selected” from the sequence to the newly imported file?
Michae
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Do you think that Motion becomes part of FCPx at some point, and one might think (hope) that the lack of standalone development is about integration development?
On a similar note, you just have to think that Blackmagic will be integrating Eyeon Fusion into Resolve at some point in the future, and Fusion has some great graphics functionality – not to mention compositing, etc.
Michael
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My only guess is that should there be a brand new spanking engine with GPU performance that it would have been mentioned (and highlighted) with all the 2k/4K news at IBC. The fact that the workflows were more centered on the new DNxHR kind of tells me, there is no new engine. As with all things, I reserve the right to be wrong. 🙂
Michael
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Unfortunately AMC does not use the graphics card as much as it could/should, especially when comparing it to Adobe Premiere Pro CC. There are some effects that leverage GPU processing, but that’s about it.
Michael