Michael Phillips
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COW Coin
Forum Replies Created
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Have you tried a mixdown first, then export for encoding in Squeeze? Alternatively, I prefer using MXF OP1a export as I blog about there – see the second half.
https://24p.com/wordpress/?p=278
Michael
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I agree that I would most likely make the project a 1080p/29.97 as delivery will be steaming or projection which is always a progressive delivery. TV’s are mostly progressive but there may be some old interlace tube TV’s still out there somewhere. ????
Now, when linking to footage that is not 1080p/29.97 native, Media Composer will convert to 1080p/29.97. Quality of frame rate conversion is always a debate – but a 59.94 to 29.97 will either lose every other frame or blend them. Try linking to a few different formats and transcoding in Media Composer to a high-quality codec (minimum DNxHD 115) and export out Same as Source and watch it play full screen in MoviePlayer and see how it looks. That will be your ultimate test for quality.
Michael
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Well, that is unfortunate – the whole idea of SQ and higher as an option to shooting R3D and only use DNxHR for productions that want quick and easy turnaround. Do you get same artifacts when only shooting DNxHR SQ and not as an additional proxy? And are you getting same XY image size?
Michael
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I have not seen any of the more recent in-camera proxies created to know. Things may have changed since they switched to no longer creating spanned files.
Michael
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I brought this up in beta when this functionality was introduced and did not get any response. If logging against the AMA master clips, you can always export an ALE and merge it back into your consolidated clips.
Michael
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Do any other applications play the file like Resolve, Adobe, VLC, etc. ?
Michael
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I wish these limitations of Soundroll and A1 track didn’t exist. Haven’t done enough testing to see which ones if either is still needed but they were at one time. The whole design of Soundroll and SOundTC on a Master clip of V only or VA is to reference the double system sound used for EDL or possible syncing operations. I never understood why the dependence of an A track and another field had to exist.
Michael
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24 is the correct selection. Even though the play rate is 23.976, the timecode still counts as 24. Now as to why that happens is the issue. Do the video clips have at least an A1 track associated with it?
Michael
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Just to keep the story advancing here, the problem with the relink was that all the GoPro clips were frames other than the project type of 23.976. One thing to try is setting those clips in Source Settings to Project Rate in the Playback tab and try again.
Michael
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The biggest issue with some cameras is unique file naming as they will start over with the same file name when the camera shuts down. It is only in these cases that I would suggest renaming files BEFORE any post process begins with a unique prefix or suffix. Usually, shoot date at a minimum and an incremental file count like _001, 002, etc.
Import and Link use that file name to link and is in the Source File. All the timecodes can start at 00:00:00:00 and still link as long as the source file name used to relink is unique. Most any column can be used to relink not just Tape, and Source File. So that becomes a way to create unique sources after the fact should you need to do so. Labroll and Camroll are common ones.
Sort your bins by Source File and see what’s there, what’s unique or not and start from there. If you want, I can take a look at your bin (no media needed). Make sure all the clips that won’t link are in the same bin with the sequence when sending. Zip the bin and send to michael[at]24p[dot]com
Michael