Michael Phillips
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COW Coin
Forum Replies Created
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If you see gamma changes it is usually associated with having Perian or other QT codec helper installed that interferes with the decode process. Remove that and things will get more manageable. Also, in v6 (I think 5.5) QT via AMA offers “levels” control. Right click on one or more source clips, then right click and select “source settings” In there you will have 3 options:
Scale to video levels (16-235)
Expand to graphics levels (0-255)
Do nothingCanon HD-DSLR records in 601 color space full range (0-255). If finishing for broadcast, I would suggest selecting “scale to video levels”. You have a histogram available in that window that will let you know what the range is and whether it falls into the 16-235 video levels (the two gray bars). Once you transcode, those levels are baked in to the REC 709 DNxHD codec.
Michael
Michael Phillips
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What codec did you transcode to? The most foolproof is to transcode to a DNxHD codec and also transcode audio. Basically nothing in your sequence should be referencing an AMA sourced clip.
Move the sequence to its own bin, transcode, then look at the Video Format column to ensure everything is now DNxHD.
Michael
Michael Phillips
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Usually you have a program delivery specification detailing duration of slates, layout and content of slates, timecode for program start, audio, tone, levels, etc. I would suggest you have the actual title sequence or slug of the title sequence during editorial for timing purposes.
While some of the requirements may be different for web delivery, many of them are the same. Work backwards from that delivery requirement specification.
Michael
Michael Phillips
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So the issue is when using third party software to create metadata and essence outside of PPro with a different interpretation that deviates from standard calculations? Seems to me that Adobe did a great good job of reaching out, identifying the source of the problem (outside of PPro) and will be addressed in a future release. He also reached out to the author of the program to work a solution at the source.
And what good is there is trying to “shame” someone? We all work under deadlines, priorities, compressed schedules, with variables we can or cannot control. You can read the release notes of known issues with any software release and go on some blog rant about “how could they release this with that issue?” all the time. More helpful would be to find out why the original timestamps needed to be re-adjusted in third party software (which then caused the timecode rate issue) in the first place and see if there is a better solution to be had. That would be a complete description of the problem at hand, and potentially a better solution.
Michael
Michael Phillips
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A description of the actual bug and circumstances in which it arises would be good to know in case there is a workaround that can be used in the meantime. God knows there are similar issues in every software package.
Michael
Michael Phillips
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Having the bin relink to the imported or transcoded media (DNxHD media) is the same regardless of method. AMA will give you more relink flexibility later such as from sequence. Also, AMA transcode is much faster than import.
Michael
Michael Phillips
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This video will give you insight into all the ways you can work with R3D:
It’s an hour long, but worth your time.
Michael
Michael Phillips
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Thanks for sending bin. I will get some time today to take a peek and see what’s going on.
Michael
Michael Phillips
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What version are you running? In 5.5, the Media Composer kept track of the sources and their original timecode rates with commments in EDL as to original rate, etc. In v6, the transcode will convert to local frame rate and there is no reference back to the original sources but should be as though the footage as always the rate of the sequence (23.976 in your scenario).
If you make an EDL, does it look as though it is all 24fps source and record with what you have in your timeline? Does one event work?
Michael
Michael Phillips
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Can you zip the bin with the sequence or a sequence of just those clips and send it to me to look at? If so, send to:
michael(at)24p(dot)com
Michael
Michael Phillips