Michael Phillips
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COW Coin
Forum Replies Created
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I still prefer hardware based conversion over software for overall quality especially when there is interlace to progressive, frame rate conversion, etc.
Next thing I would look at is how much do you have to transfer? If just program, then software and such may very do the trick.If converting lot lots of selects, then the real time hardware will be appreciated.
Michael
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I did a single mono track in my test (track 1) and it worked fine. If you want to send me your file to try, I can do that. Send to michael[at]24p[dot]com
Michael
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The drive location is the last know location of that file. If you don’t have a drive named that, then it was the name of the drive used by whomever created the media before prepping for the tutorials.
I would try downloading the files again and make sure there as no error.
Michael
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I just imported track 1 of an 8 track monophonic set of BWF files and was able to 1/4 frame per slip just fine. Make sure you are not in one of these situations when trying to perf slip:
https://24p.com/wordpress/?p=163
Michael
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So you imported (not AMA linked) 1 track of a monophonic recording and you cannot perf slip? I will give this a shot on my v8 and see if I have the same issues.
Michael
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I forgot to add that when editing from recorded proxies off of camera, it does not eliminate the need to QC all the camera originals as there could be an issue there that does not manifest itself with the proxy, such as a bad write, file corruption, etc. That is why making dailies from the camera originals is a good idea, as you can verify file issues as part of the dailies process before sending back SxS cards or whatever is being used to record camera originals back to set.
Also, as a dailies provider, I never clear the cards/disks and let the camera crew deal with that process. You do need clear and precise communication methods as to when a card can be cleared, which is after you’ve archived and successfully QC’d the material. Hopefully the camera package includes enough cards to provide for that scenario. If you’re making one copy only because of fast turnaround needs, then make sure you do a sumcheck, and open each file and at least scrub through from beginning to end before giving the “all clear”.
Michael
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As Oliver says, Resolve is very fast, and I have seen dedicated dailies systems that are souped up and designed for dailies throughout transcode ProRes to DNxHD as 3-4x faster than real time. If you’re making dailies in a MacBookPro and reading and writing to a USB2 drive, expectations should be much different.
That being said, the word “dailies”can mean a lot of things and usually you get a spec sheet or requirements from editprial as well as what is expected by producers/director. It can be any or all of (and not a complete list):
-Burn-in or not
-burn-in on first “x” seconds of clip
-which burn-in fields
-Size and position of burn-ins
-If 2K, letterboxed?
-Sync in dailies or Sync in MC?
-Sync mix and ISO, or just Mix?
-LUT with ASC CDL or not ASC CDL?
-Is it really LUT only or do they want additonal color balancing and correction to match shots as needed?
-Additional logging in dailies such as scene, take, description,
-Reports on each dailies delivery with issues, focus, or other problems that either Producer, DP, editor or post super should be aware of
-In addition to editorial dailies, are you making “viewing dailies”? These are typically H.264 for director and DP to have for their needs
-If so, what burn’ins and watermarking needed (property of…)?
-One single drop off and end of day, or is there a hand off at lunch to get started on morning’s shoot?
-If you are, how many copies?
-If you, who manages cards/drives from set?
-etc.As far as capturing in an external device, make sure it carries the same file name and any timecode offsets have been eliminated. These recorders tend to record QT wrapped DNxHD, so that will need to be AMA Linked and consolidated into an MC project. Is other metadata expected to be logged? Is audio sending a mix to camera that in turn gets recorded here? If so, how does audio metadata get tracks if conform to the BWF ISO tracks are needed?
Or is this a run and gun low budget production? If so, some of this may be needed, some may not. But make sure it is written down and agreed upon for whatever price it is being done for. Too many times one thing is agreed upon, then they ask for more once production has started.
Michael
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Things to consider:
1. DNxHD is a purchasable option on the Alexa cameras. Check with whomever is supplying the camera whether this is available. If not, it may be added to the rental price compared to ProRes.
2. DNxHD 444 10 bit is 440Mb/s while ProRes 444 12 bit is 330 Mb/s. ProRes will give you 25% more storage per recording device in the field. Or less media to transfer and backup for the same amount of hours.
3. DNxHD is 1920×1080 only. If shooting ProRes with Alexa, you might be considering 2K (if needed).
4. What is your offline/online plan? Are you looking to edit camera originals at original data rate? Log or non log? Are you finishing in Media Composer or elswhere? If you are creating a proxy for editorial, you have a transcode anyway. The real question is how are you finishing? A conform in Resolve or other similar system for color correction?
5. ProRes 444 is a native codec in Media Composer. On OS X you can render to it as well. But all the aforementioned questions apply. What is your offline and online strategy?
Personally I find there is nothing to gain going with DNxHD as a camera acquisition format.
Michael
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OK, cool. Just wanted to make sure you were aware of the past issues, but I see you are on the new model. I have yet to have hands-on with the monitor, but there has been some ongoing discussions with Greg Staten about the monitor over at LiftGammaGain:
https://www.liftgammagain.com/forum/index.php?threads/new-hp-dreamcolor-monitors-4k-capable.2694/
Michael
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v8 marks the beginning of different methods by which you can own or use Media Composer. Depending on your budget, situation, etc, one of them should meet your needs. Aside from the licensing and clip color in frame view (maybe a few other small things I am missing), v8 is all about what happens moving forward. For those who do not own MC, they can look to the rental/subscription model by the month or with a yearly commit. Either way, at the end of that model, you don’t own any software. This is very much like the Adobe CC model.
If you own MC, or decide to purchase a license, then you need to decide whether you want to stay updated every year for $299. A new license comes with 12 months of updates and support. If you let that lapse past the 12 months, there is no pro-rated cost to get back on the plan, you are buying a new license at $1299 and now have two licenses, your old one stuck at whatever version, and a new one. Also keep in mind that if you are an MC owner with a dongle, and you let it lapse, you are also paying an extra $500 for continuing to have a dongle as it appears the old dongle does not get updated, but getting a new one. Something to keep in mind.
For existing customers, December 31 is the drop dead date. Come Jan 1 2015, you are buying a new license if you have not signed up for the $299 plan by then.
The next version of v8 releases this summer. That one will have new features and fixes.
The avid website has charts, FAQ’s etc, that explain all this. There are also changes to what comes bundled with each of the different methods.
Michael