Michael Phillips
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COW Coin
Forum Replies Created
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Here is a link. I did a quick Google search for arri downaload sample footage and got this:
https://www.arri.com/camera/digital_cameras/learn/alexa_sample_footage/
Michael
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Do you have the delivery specification from the network you sending the program to? If the pieces are not 100% legal range it may get kicked back. I have to ask why they are not after a color correction session?
Michael
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The ALE is typically merged to the master clip to add additional metadata that is not part of the MXF wrapper when generating DNxHD.
Although my blog is about accessing metadata from the BMC Cameras, the ALE merging steps are the same:
https://24p.com/wordpress/?p=29
Michael
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If you shoot DNxHD in camera, use the Arri AMA Plug-in to link to and consolidate.
If you shoot ProRes in camera, use the QuickTime AMA Plug-in to link to and consolidateIf shooting LogC, in v7 apply a LUT, if pre v7, use software like Resolve to bake in a LUT and export as MXF wrapped DNxHD.
Michael
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I downloaded sample ProRes, DNxHD and ARRIRAW from the Arri site itself. I don’t have the link in this system, but a quick search on their site should get you what you need.
Michael
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Just be ware that some frame rates do not have interlace counterparts so you cannot flip project back and forth.
Michael
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Which effect was used for the reframing? Sending an AAF is your best chance. You need to select “use resizing information” when prompted at the import stage in Resolve. If using FrameFlex, that is not yet supported.
Michael
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The first difference is the fact that you are shooting long GOP MPEG encoding and transcoding to an I frame codec like DNxHD. Because of the differences in encoding, you cannot just match up data rates and think they are the same (not saying you are, just setting the ground rules). MPEG encoding can maintain a higher quality picture at much smaller data rate but can suffer from image control and multi-generation depending on what you want to do with it.
I find that with EX1 going to DNxHD 145 is fine more most if not all transcodes. You are not gaining any additional quality by going higher or uncompressed. The EX1 is also 8 bit as is DNxHD 145. You can keep going to 185x (10 bit) if you want, the 10 bit will give you slightly more control (not more color) when doing certain color correction operations.
Michael
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Forgot about field stepping! I am in progressive progressive projects 99.647% of the time.
Thanks –
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Assuming the subclip is video from one master clip and audio from another, load the subclip into the source monitor and in your tool paletter you will see a Perf Slip Left/Slip Right button. Put your timeline into source record view, turn on waveforms and you can slide audio in 1/4 frame increments to the left and to the right. But it is a hellish way to think you can edit this way. It’s about changing the relationship of the entire clip sync reference, not for removing blips and bloops.
Michael