Michael Phillips
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COW Coin
Forum Replies Created
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Did this developer license the optimized DNxHD codecs from Avid or are they using the free download version? These are different in performance. I do know that in a dailies creation program, targeting native MXF wrapped DNxHD, all 24 cores were firing away at near capacity and I was getting 2x faster than real time with LUT and color correction applied.
Michael
Michael Phillips
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I don’t have any Mark 3 media to test with, but would be interesting to open it in PPro, or other application. You can look at the track metadata in QuickTime Player 7 and see what it thinks the timecode is.
If you want to share one of those files, I can take a look as well.
Michael
Michael Phillips
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As Michael said File>Import. It will convert to whatever audio settings are selected in the audio project/settings. For example, PCM, WAV, 24bit, 16 bit, 44.1kHz, 48kHz, etc. You can also choose whether you want the file to be a stereo clip or not, etc. as well as change overall levels if they are too hot.
An .mp3 will not import if it has DRM.
Michael
Michael Phillips
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You need to transcode the sequence to DNxHD first before doing a SasS.
Michael
Michael Phillips
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You don’t need to deinterlace if your sources are already progressive. And if they are, you may have better quality conversion letting Avid do that with an effect (interlace to progressive motion effect at 100%).
Michael
Michael Phillips
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Assuming DNxHD in the timeline, “same as source” is a flattened sequence in DNxHD with a QuickTime wrapper. You could do the same using QuickTime reference if encoding on the same system as the media. At this point, the exported QuickTime is exactly the same as what you have in your timeline. No further compression has been applied. The only difference is that Media Composer is a video based system meaning that video levels are 16-235RGB (in 8 bit terms) whereas steaming video on computers and mobile devices uses graphics levels of 0-255. If this is not considered in the export, black levels will look washed out somewhat compared to what you saw on a calibrated REC601/709 monitor.
First thing to do (example will be for QT reference out with mastering selected) is to export as RGB. This will take the assumed 16-235 video levels and expand the range to 0-255.
Exporting straight out of Media Composer to Vimeo or YouTube is the not the best way since it only uses QuickTime MoviePlayer to the work. You should be able to get much better results using Sorenson or Adobe Media Encoder as you have control over many more of the parameters. And this is where some “art” comes in, as you may have to tweak settings based on type of footage, complexity in image, etc. Start with a preset and take it form there. There may be times you have to go back to the timeline and color correct for a 0-255 deliverable to make a better looking output.
Michael
Michael Phillips
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If it shows 48 and the intent was a slomo, the camera operator did not set the camera up properly for slomo – whether it be in REDICINE X or AMA in MC.
With latest R3D plug-in and v6 MC, the Redcolor 3 and RMD would be part of the transcode via AMA – but either way, you seem to be on your way.
Michael
Michael Phillips
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Make sure the project is not set to RGB. Once you set it back, the other resolutions will re-appear. A little silly that project type still defines codec – seems like selecting a codec selection could temporarily enable whatever it needs in the background to do what it needs to do making it easier for first time users.
Michael
Michael Phillips
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The slomo material if properly shot on the R3D should show up as 23.976. But that requires the base frame rate to be set on the camera and any frame rate other than that will become slomo or “fastmo”, so that is something to check in REDCINE X Pro whether is behaves as a 23.976 clip for 47.952.
Seeing as you are at a standstill, I would suggest starting over. The decision will be whether you make DNxHD in REDCINE X Pro, or use AMA to link, then transcode. I need to check your original posting as to where you want to end up in the end – and what third party tools you might want to be using with the process.
Michael
Michael Phillips
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Well different frame rates is another issue to deal with, and has a few hoops to go through. Although the mix & match quality of different frame rates is higher quality and real time compared to FCP, managing them can be painful and hopefully one day that will be addressed in the application.
But each original frame rate needs to opened and transcoded in its own matching project type. So 23.976 in a 23.976 project, etc. From there yo open those bins in the project you’re working in and the mix & match kicks in as needed.
But…
And here’s the but… as soon as you transcode a clip that has a different frame rate than the project type, it gives you a big warning about becoming a totally new clip with absolutely no link to where it came from. Which is a pain in the ass for any project that needs to go back, but has to transcode/render due to performance. For whatever reason, that was the decision in v6 whereas in v5.5 the original sources were preserved for EDL’s and such. But even with that issue brought up, it was still implemented that way.
So now you are probably caught in the mixed frame rate/relink…
What are the different frame rates?
Michael
Michael Phillips