Michael Phillips
1
COW Coin
Forum Replies Created
-
There’s a setting in the MPEG2 settings when you scroll down that you check to indicate the source media is 16-235 RGB range and won’t touch the levels. Many compression applications assume all sources to be full range 0-255 and will apply a constrain to the result.
Michael
Michael Phillips
-
My suspicion is that it is happening in compressor. But I need to play with it to give you actual confirmation.
Michael
Michael Phillips
-
What are the settings in MPEG Streamclip when selecting DNxHD codec; RGB or 709?
What are the settings in Media Composer when you import those files, RGB or 601/709?
Both of these will affect overall look of image.
Michael
Michael Phillips
-
Why are you introducing the “less than consistent” world of QuickTime into the process when you can link directly to the R3D files and have far more control over the image?
As far as QuickTime, have you installed the latest QT component from RED available on https://www.red.com/support?
Michael
Michael Phillips
-
No you cannot.
Michael
Michael Phillips
-
Which of the RGB or 709 settings do you have set in the codec settings window?
Michael
Michael Phillips
-
DO you have transcripts of the interviews? If so, it would be ScriptSync all the way for me!
https://www.avid.com/US/solutions/workflow/Scriptbased-Editing
Michael
Michael Phillips
-
ALE is a text based file. It is basically a TAB delimited file with project header description as a global, then column, then data. It is used to describe source master clips.
an EDL is an edit decision list and mainly refers to a simple description of a composition or sequence. EDL’s are still used for some workflows, and in many cases is the last usable format for offline/online when AAF, and other compositional structures are not supported. EDL’s were designed for machine based protocol and are tightly defined by which linear controller is being used. CMX-3600 is probably the most used and is considered a pseudo- standard in EDL world.
AAF is a richer form of compositional metadata which describes the sequence of events, layers, VFX, as well as the sources that make up the sequence.
MXF is a wrapper of essence (picture and sound). Much like QuickTime is a wrapper to QuickTime but is an open format where metadata can be stored and retrieved.
Michael
Michael Phillips
-
There is some truth to that as how a file gets converted from one space to another can affect overall quality such as banding etc. I am consulting on two features right now, and I chose to transcode everything to Cineform first. One for the decode qualities and encode to a higher bit rate (as they state), and for creating a submaster that had timecode part of the file to make it persistent and consistent.
Once that was done, I did an offline from those files at DNxHD36 with a conform to the Cineform file later either in an Avid product or a DI system. If gives me the flexibility to choose at a later date.
Michael
Michael Phillips
-
For Canon 5D footage going to DNxHD 145/150 will be good enough. The 5D shoots 8 bit 4:2:0 in NTSC color space, so your new transcoded media will become your new master. Media Composer will create timecode based on creation date – If you go that way, backup your DNxHD media as your new submaster sources just in case. Cineform can make YUV and will make video legal SMPTE (constrained) range with black at 16RGB and whites as 235RGB.
Also, import your BWF files dircetly to the bin. Do not use AMA to BWF files as the timecode will be wrong.
Michael
Michael Phillips