Michael Phillips
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COW Coin
Forum Replies Created
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You could consider (AKA test!) AMA link to the ProRes in an SD project, transcode to a 10:1m resolution, group and edit, commit multicam edits, and relink back to ProRes via AMA and transcode to final master resolution.
Another thing missing is for file based formats, there is no consistency in keeping all clips from the same camera in the same viewer (unless something has changed recently). It would be great if multicam looked to the “Camera” column for this to happen.
Michael
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Maybe the “new” MacPro is just one with power and fans now complying to European rules and regulations? Maybe it’s a stop gap until one later? Could be the new one? Could be anything?!?!?! Seeing as communication has only been with a European based reseller, it could be either.
Michael
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12 streams of 185x most likely will not play back in real time. 12 streams of anything may struggle depending on data rate as well as speed of drive(s) and connection. Also, you will have to work in “banks” since you can only see up to 9 views at time in the multicam interface.
I would suggest testing the platform, drives, and connection with different data rate codecs to see what kind of performance you can get with the 9 camera view.
Michael
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I am told that Resolve 9.1 also support XAVC which gives you a solution to pursue as well.
Michael
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My issue with most of these type of iPad devices is that the primary purpose of a hardware controller interface is to allow control over parameters without having to look at it – it is done by feel with your eyes and ears never leaving the program. I always find myself having to look where I am tapping or swiping as the glass has no physical boundary interface to work by feel. So at most, it is just a monitor extension to the interface and not a controller replacement.
Unknown is whether you can control more than one parameter at a time, which is another purpose of hardware controllers, or automate a parameter based on a playback time, etc…
Michael
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Couple things to consider:
1. Avid does not have a 60p project format so you will most likely be working in a 60i (interlace) type project. This means that every frame becomes a field losing 1/2 the vertical resolution, but motion resolution should stay the same.
2. The 4K will be scaled to 1920×1080 as Media Composer tops out at HD resolution. This is the same workflow as with any other 2K+ camera format such as RED, etc.
3. You will want to transcode to a more “edit” friendly codec, so I would look to the more data conservative formats for interlace.“Dailies” will most like be made in a dailies type system such as MTI, Baselight, Colorfront, etc. I “think” Resolve may have it now, but I am not sure. In these scenarios, make sure you define what the REEL ID is going to be (filename or otherwise) before the offline to ensure a smoother online reconform/relink.
Michael
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AMA then transcode is 2x faster than just an import as that process is multiprocessor aware.
I would, as Shane mentions, AMA into 29.97 project type, open bins in 23.976 project and transcode there. It will then create native 23.976 media.
If you need to ever go back to original sources, transcode in the 29.97 project, then open in the 23.976.
Michael
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You’re double welcome! I wrote that whitepaper as well… 😉
Michael
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For starters you have to ensure the file names match and then adjust timecode to compensate for any delays in the workflow.
From there make sure color space on output is correct and take it from there. Audio is a different issue – if the camera is recording a mix scratch track it will be on the recorded proxies but will have no reference to the original BWF files if needed for the ISO’s.
I would suggest you still need to backup, archive and verify all the original camera masters anyway which is part of the dailies process when transcoding.
Michael