Michael Phillips
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COW Coin
Forum Replies Created
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They are asking for whatever format(s) the finished program was acquired with:
1. Camera
2. codec
3. Resolution
4. Bit depth
5. Frame rateMichael
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Netflix licenses content of all resolutions. For Netflix originals, they have a pretty strict 4K deliverables requirement.
Also, whether the content is posted using FCPx, Premiere Pro, Media Composer, Resolve, Lightworks, whatever does not matter as long as it’s a good show and the deliverables are met.☺
Michael
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I don’t think they care what is used for these original programs. They will make way more money on the consumer side than what they would make on the editing systems including Mac based systems. I have always thought that their interest in editing tool set started waning with the introduction of iTunes music, film, and television show sales/rentals.
Let’s assume 100 titles series ($10M each)
6 editing stations each
6 FCPX
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600 systems with FCPX
Assume $10,000 for each
= $6M
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Apple TV = $200 (larger storage)
Need to sell 30,000 to equal revenue from editing systems. Some articles have Apple selling 24M AppleTV devices in 2016. That represents $4.8B!
Add to that the cost of the subscription where the money really is at? Let’s say $10/month, so $120/year (I/m thinking it may be more).Now a yearly revenue depending on the percentage of AppleTV owners subscribing:
100% = $2.8B
50% = $1.4B
25% = $700MMichael
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Look to using “Target Mask” which came in some version of 8.x. set the aspect ratio in the format tape of the project window. Right click select in the source/record monitors to activate.
Michael
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When I am in a 720p/23.976 project type, the master timecode works fine and rolls over at :23 as expected.
Michael
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What frame rate is your master timecode set to (top one). 720p is Media Composer still relies a lot on legacy tape formats which were only 59.94p and 23.976 frames were tracked with pulldown. Master counts should have a choice of different frame rates.
And what project type are you in? 23.976 or 59.94?
Michael
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Is it XAVC-S by chance?
Michael
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Both methods result in linked media becoming Avid managed in the Avid MediaFiles folder, but they are not the same process.
- Transcode is a media conversion process on the media from one codec to another
- Consolidate is a copy and a rewrap for a codec that is “native” to Media Composer.
You can see what codecs are considered native from the list of what you can transcode to.
Michael
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I am not in front of a system at the moment, but there is a column that shows the frame rate declared by the file. It’s also visible in the new browser window. Some formats when shooting slomo will only display the play back rate and not the original shooting rate in its metadata. Also, MediaInfo is a good tool for digging into the wrapper, codec, frame rate, and aspect ratio.
Michael
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Brent: The DNxHD 115 files that the Red Camera creates will be .mov files and not the .mxf OP-Atom Files that Avid requires in the numbered folders to build the Database Files. In that case you need to with AMA Link them or Transcode them with Resolve. If you are going to Transcode then I would use the original Red Media and make sure that your “Reel Column” is populated by using the Embedded Reel Metadata.
This is not true. The RED camera records native MXF OPAtom files as DNxHD or DNxHR depending on settings. All metadata is already part of the file. No need to re-transcode or use Resolve.
Michael