Michael Phillips
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COW Coin
Forum Replies Created
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Just to be clear, I am not suggesting you shoot in REC709, just that dailies are done with a REC709 LUT applied. You do want to record 444 LogC to have the most control over image in the post process.
For quick turnaround work, and straight up television deliverable, I would consider shooting REC709 as either ProRes or DNxHD although DNxHD is a $5K option on the camera while ProRes is not. So make sure that codec is available when renting. But I would also add, if recording REC709 for television, there are plenty of other cameras that can do that as well that may be a better fit that could/should be considered.
Michael
Michael Phillips
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Job is referring to using ProRes 444 with a LogC curve during acquisition which allows for the full dynamic range of the sensor to be captured. In order to do that, the levels of the image change where it looks “milky” or “washed out”. This is an image that is destined for color correction giving the colorist as much information possible for creative choices later during the color correction process.
Typically, to make the image look normal. in this case REC709 for HD editing, a LogC -> Rec709 is applied making the black and white levels appropriate as well as all points along the curve to render a pleasing image. If that is not done prior to editorial, then the only time a color adjustment can be made is in the timeline when editing and a color correction is added to the top layer and constantly managed to ensure it covers the entire timeline while editing. Any source clip loaded and played with be washed out.
This is because Media Composer does not support the use of LUTs on the source material for anything other than RED with its own use of RMD file which is a variant on LUT. So dailies are processed prior to editing in a variety of program than can apply a REC709 LUT and transcode MXF wrapped DNxHD of your choosing. Offline will usually go with DNxHD36 for a great balance of great looking images and drive space.
Also the data rates of ProRes 444 LogC are much higher which will affect performance overall – such as real time layers, transitions, etc. And no multicam (if used) in real time. This can really cripple an editor creatively constantly having to wait, and not see interactively, as well as timing of choices if frames are dropped or constantly rendering to see it.
Being a feature, I will assume that the final grading and mastering will be done in a different system, so a “dailies” process should be considered as the master files are properly archived as they are your camera originals you don’t want to be messing with at this stage.
Michael
Michael Phillips
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I “think” custom columns have a limit of 64 or something like that, but there is no limit when typing directly into a field. Some of the Standard bin columns like Scene/Take, Labroll, etc. have shorter allowances.
Mchael
Michael Phillips
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The UI was never updated to reflect what was actually being exported. Selected WAV will be a BWV since version 5 when timecode was added to export, WAV, QuickTimes, etc.
Yes, Adrenaline box should count. Go to your audio output settings and select “direct out”.
Michael
Michael Phillips
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You can export BWAV from source clips or timeline. When you do, the timecode is added to the BEXT chunk essentially making a WAV file a BWAV file.
If you have I/O hardware, you can actually export all timeline audio tracks in one pass into a multitrack BWAV file, for example, 1 file with 4 tracks. So depending on the requirement and how it needs to be named, it can be done this way. If single track files are requested, then do the export 1 track at a time.
Limitation are the multitrack export cannot be done with I/O hardware – and not with software only. Wish that were different. Also, if you name your tracks in the Media Composer timeline, that does not end up in the BEXT chunk of the BWAV file. You will need to use a free program like Wave Agent from https://www.sounddevices.com to rename the tracks within the file. It can also be used to change timecode and other metadata and should be part of everyone’s toolkit. Available for Mac and PC.
Michael
Michael Phillips
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It does support image sequences, but only as TIF, JPEG, etc. and not DPX, etc. So depending on your needs, it may, or may not work.
Michael
Michael Phillips
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The first test to try is importing your new ALE directly into a bin with the first setting active to see if it even works in the most basic sense. This can give you more clues as to issues with the ALE itself. I have found with Excel back to TAB that some of the “line returns” are not there. I usually open up in TextWrangler on a Mac or similar on a PC to look at the file with invisible characters active to for sleuthing…
If you’re still having troubles, I may have some time to give to give it a quick peek tomorrow if you want to send bin with AMA clips and the Excel/File zipped up and send to michael(at)24p(dot)com
If you do, let me know you did via this thread in case it goes to spam.
Michael
Michael Phillips
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It’s based on an EDL (video) style editing which is inside/outside counts. The OUT is always +1. There is no way to change it to a film style approach which is inside/inside counts. But it is for timecode only, the frames you select are the ones in the cut.
Michael
Michael Phillips
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I would have offered that link as well, but the original question was about adding chapters to a QuickTime movie, and not an MPEG2 for DVD. Perhaps the unspoken part of the question is that the QuickTime will be used for DVD authoring, in which case your link is the answer.
Michael
Michael Phillips
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You should be able to make a basic EDL via EDL Manager and then text edit to make it look like the format supported by Apple Compressor:
If you add clip name as a comment, you can have that as part of your text edit as well. Perhaps some has made a text translator already.
Check out solutions at VideoToolshed.
Michael
Michael Phillips