Michael Phillips
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COW Coin
Forum Replies Created
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The import code uses a lot of old code that existed for many years (easily over 10). AMA is very recent and uses all cores for the transcode whereas import is still only one. That is why it is faster.
For speed purposes, AMA is the way to go, now that is has support for levels when using QuickTime sources (graphics levels, video levels, etc.), But there are still some thing that would be nice to have such as not having a .new added to the name after the transcode. Import doesn’t have that.
Michael
Michael Phillips
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Is it a thin raster format – either source material or project setting?
Michael
Michael Phillips
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The software license works well as along as everything is working well. But some upgrades require de-licensing first, some don’t, and if your OS or disk fails for whatever reason, getting that license back is not quick or very straightforward. That is why many still like the dongle.
If there was user control over their licenses in the almighty cloud allowing the local client to have more flexibility, then it can actually improve over physical dongles. One of the last few patent filings I did while at Avid had a cool solution to this that perhaps one day might come to market.
Michael
Michael Phillips
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If the codec exists as part of the Avid native codec library, then the clips will basically be a copy wrapped im MXF and managed in the Avid MediaFiles/MXF/ folder structure. If the codec is not, then consolidate will also include a transcode.
A transcode is always converting to the target codec choice for any source codec regardless of being native or not unless they match exactly.
When you select transcode, you can see a list of codecs that are considered native to Media Composer. If your originating codec is not thee, then consolidate will include a transcode. An obvious example would be an R3D file from RED. You can select entire clips, spans of clips (IN-OUT), etc, and the consolidation process will include a transcode to your selected natively supported codec.
Michael
Michael Phillips
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I was going to suggest Adobe Media Encoder next, as that is what I use and have not experienced the problem you are having.
Michael
Michael Phillips
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For me, I like to keep dongles on the systems that don’t travel and a license key on the laptops. Mainly so I don’t them and they don’t break off when on the road by accident. In the studio, I like moving dongles around as needed. There are different reasons for different situations.
Michael
Michael Phillips
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Are you using mixed codecs or something? Make sure entire sequence is DNxHD to see if that helps by transcoding or doing a mixdown first.
Michael
Michael Phillips
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I export the QT reference out as RGB so it scales at that point, then make all my deliverables from there.
Michael
Michael Phillips
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If Mix and Match kicked in, there will be a green dot on every event. You can open those motion effect adaptors and change it back to 100% rather than 104% (no batch process for doing so).
You could always treat the sequence as an output to tape via a QTrefence out then back into the 24p project rate and setting “ignoreqtrate true” in the console. This will cause a frame for frame import resulting in a 24fps slow version of the 25fps media. The same can be done via AMA by typing ‘SetAMAQTForcedFrameRate true 24.000’ into the Console before AMA-linking. ‘SetAMAQTForcedFrameRate false’ turns it off in the same session. I don’t believe the command persists when shutting down and coming back in.
Michael
Michael Phillips
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Yes, you need to create a new project that matches the frame rate of the footage.
Michael
Michael Phillips