Michael Phillips
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COW Coin
Forum Replies Created
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Why can’t it just be easy? 🙂
send an email to Marianna asking how to sign up for those forums:
She is out for a few days with a family issue, but she will get back to you.
Michael
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Have you tried any of the Sony Browser tools?
Michael
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Although I have a developer I work with, our product does not write AAFs just reads the for reporting purposes. I would suggest posting this on a the Avid community forums where there are several ones dedicated to developers.
I would post an URL, but the forums have been very very slow for me all weekend and never displays.
Michael
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On on a somewhat related note but using stabilization on the higher resolution file versus the HD proxy, see my blog: https://24p.com/wordpress/?p=253
Michael
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Depends on how far in you want to zoom. If you want to extract an HD frame from the 4K image or do like a 25% zoom in for a reframe. For offline, it will be up to your tolerence as well as your source footage, but I find that in many case, zooming in is not that bad for creative editorial when all dailies are at HD resolution.
Here is an example of a 4K (4096×2304)16:9 image with an HD extract using both FrameFlex on a DNxHR LB version of the 4K frame, and again as a 25% resize on a DNxHD 36 transcode of the same frame:
Original image showing HD extract in FrameFlex
I then transcoded the original 4K image to DNxHD 36, then applied a 3D Warp and resized it to same parameters. I exported both as DPX so as to not introduce any further compression, then did a side by side in Photoshop at 100%. Hard to tell at 100% a whole lot of difference:
The same images in Photoshop now zoomed in at 200%. It is easier to now see some of the compression and resize artifacts:
If you do more typical resize type work, I did the same test again but only with a 75% extraction in FrameFlex compared to a 25% resize in DNxHD 36 using 3D Warp – here’s what it looked like in FrameFlex:
And then the exported frames comparing them side by side in Photoshop at 200% zoom in:
So as you can see, the impact may not be as server as you think it might be. And if everything is going to be conformed in Resolve or other third party, the AAF will carry the resize and the conform application will have the same resize applied as with Resolve, in my opinion, use a better resize algorithm.
If making Avid media in Resolve first, please make sure you have REEL properly set. It is best to use “use clip filename” in “conform assist settings in Resolve.
Michael
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Settings” color management: there is an import button in there. In that window you can decide whether the LUT should be project specific or available to all projects.
Michael
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Depending on your color management settings, a LUT may already be applied automatically. This is done via right click on clip or clips and choose “source settings”. In there you will have 3 or more tabs depending on source file type. The color tab allows you to define source color space, add, remove, or bypass a LUT or change the order of operations of multiple LUTs are ASC CDL is applied.
Michael
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Strange that “skip files on target drive” doesn’t work as that is exactly what it’s for in this situation. 🙁
That being said, one suggestion: sort by name, then grab all the clips that now have two files: (clip and clip.new) and move them to a new empty bin. Sort by creation date, and move them up to other bins that way till the original bin has all been transcoded.
Michael
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Change the name of one of the DIT folders to a system name that is still attached and see if that allow re-indexing.
Michael
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Sort of off topic, but another consideration is Blackmagic Fusion as well as After Effects. It has a steep learning curve, but a lot of functionality. For that scenario, I wrote a blog on using Resolve as a connector to Fusion via AAF. But as Shane said, no direct dynamic type links as between PPro and AE, or Resolve and Fusion.
https://24p.com/wordpress/?p=291
Michael
