Michael Phillips
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COW Coin
Forum Replies Created
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I wouldn’t use Handbrake for these types of workflows. If you’re not using the Sorenson Squeeze that comes with every Media Composer license, I would suggest MPEG Streamclip. It will take a QT reference and has lots of control over codecs and parameters.
Michael
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And in what window are you seeing this frame rate selection? If you export “same as source” or QuickTime Reference, it will show as 23.976 or 23.98. You can encode from there you whatever codec you need to. Are you seeing 24.000 as the only choice when going to AVI or any codec?
Michael
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Exporting what as what? That would help.
Michael
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Oh… it’s compressed HD to start with. Have you tried the MC keyers either native or via Boris plug-ins to see of those will do the job to start with?
Michael
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I don’t think that thread adds much to the discussion other than reiterate that Media Composer does yet support 1080p/50 and 100p/59.94 and as with all new features, it is unknown as to when. At least with Avid, you have a better idea of what is coming or not versus Apple that is very tight lipped. Adobe is now in a different situation with subscription so I believe the Sarbanes Oxley rules do not apply as tightly as per upgrade cycles.
As mentioned in my previous response, it is a trade-off between raster resolution and motion resolution (for editorial).
Michael
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What is your primary deliverable? Seeing as a telecine was involved, I am going to assume film sources. I would be considering a DNxHD 444 in some form of “log” to get as much dynamic range of the negative to a 444 color space on digital video. Going to DNxHD 175, you have not restricted it to Rec.709 and 422 color space, albeit 10 bit (175x).
My recommendation for the workflow would be to DNxHD 444 and transcode from that to DNxHD36 for offline and editorial, then a relink to “highest resolution”. But it is certainly possible to edit at DNxHD 444 provided you have enough storage and if editing on MC7 can apply a Log to Rec.709 LUT to have dailies that look good but allowing you access to full dynamic range by removing the LUT.
Michael
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What resolutions amd codec are the camera originals?
Michael
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You certainly may have more control in After Effects if the Keyers in Media Composer aren’t meeting your needs. But that being said, will you need to only edit the foreground (greenscreen) together with no need to time it to a background element or elements? Are you going to greenscreen the MXF media or go back to camera originals in After Effects?
Lately I have been conforming these type of productions in Smoke and composting in there when on Mac. On my Windows system I have been learning Eyeon Fusion and using the AVX Fusion outsource effect directly from the timeline. I prefer node based composting which is why I go to those two apps. But you may be able to go AAF via Premiere, then into After Effects.
Michael
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Here is what I see when creating a new project, and 720p/50 is definitely there. But it is unfortunate that Media Composer still doesn’t have a 1080p/50 and 1080p/59.94 project type. For now you need to choose between resolution and frame rate. If you want all 50 progressive frames to edit on, then choose 720 (reducing resolution) or choose 1080i/50 where each frame becomes a field reducing vertical resolution by half and editing on ever other “frame”.
Michael
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The “Avid MediaFiles” folder can ONLY be at the root level of any hard drive as seen here:
You have it buried in the Avid Media Composer>Supporting files folder.
Michael
