Forum Replies Created

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  • Most likely part of the sponsored event and somewhat subsidized by the cost of the event. Once you remove cost of physical deliveries and shipping, doing these kind of sponsorships becomes a lot easier to do. I do not believe this reflects the state of the concept, but a marketing opportunity.

    Michael

  • Michael Phillips

    July 25, 2013 at 1:33 am in reply to: Avid-Arri Alexa

    You can keep it as ProRes 444 if on a Mac (with renders). But I want or need to go to DNxHD, then DNxHD 444 is the way to go for the online. Then make deliverables from there as needed.

    Michael

  • The Mac Mini has always been a strange fit in the lineup anyway from a consumer standpoint in my opinion, so that doesn’t surprise me. It’s almost the Mac Cube. 😉 Seeing as you still have to add keboard, mouse, and monitor it seems that is is much easier to either get a MacBook Pro or an iMac all in for the mass consumer market. And in some cases, even the iPad. And seeing as it is not really a replacement for the MacPro, those folks still buy MacPro.

    Michael

  • If the BWF files were imported directly, then you will find the actual filename in the TapeID column. Highlight that column and duplicate it in the SoundRoll column and will be available as source in EDL Manager.

    Michael

  • Michael Phillips

    July 22, 2013 at 3:05 pm in reply to: AVCHD Transcode file sizes?

    You can certainly AMA directly to the AVCHD media and use that, but it is a pretty processor intensive codec, so your editing experience performance wise may not be the best. If you want to just try editing at a DNxHD codec from these sources, you can always try DNxHD 36, which is only 50% more than your original codec and see how it works out for you. I would not recommend DNxHD 36 for any finishing type work unless it is for compressed streaming type deliverables.

    Michael

  • Michael Phillips

    July 22, 2013 at 1:03 pm in reply to: AVCHD Transcode file sizes?

    I thought I would let you do the math… 😉

    Assuming 23.976fps at the highest quality rate the camera offers (24 Mb/s), then it is a matter of ratios:

    Going to an Avid native LongGop of 50 Mb/s would take up twice the storage.
    Going to an Avid NDxHD 115 would be 4.7 times the storage.

    I don’t know if I would go from one LongGop to another, and would most likely go to DNxHD 115.

    Michael

  • Michael Phillips

    July 21, 2013 at 10:55 pm in reply to: AVCHD Transcode file sizes?

    Assuming 23.976 for now, you would most likely transcode to DNxHD 115 which is ~50GB per hour. You could transcode to another LongGOP format that is a native codec to Media Composer in the 50 Mb/s range and that would be a little more than 1/2 additional storage.

    Michael

  • Michael Phillips

    July 20, 2013 at 6:53 pm in reply to: Changing Frame rates and formates mid project

    Here is the promised workflow steps for doing this. Now on my blog site. Good luck!

    https://24p.com/wordpress/?p=22

    Michael

  • Very good point, titles as well.

    Michael

  • AMA Link gives you instant access to the media. In “some” instances you can even edit with it in that state if system and drives are fast enough and the codec is not a bitch to deal with. The bigger advantage of AMA link versus import is that you can change levels as noted, but a transcode to DNxHD versus import is 2x faster.

    Michael

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