Michael Phillips
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COW Coin
Forum Replies Created
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Is this a shared storage among several editing systems? Is the “DIT” station that originally created and indexed the files still attached to the server?
Michael
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You need to change your project type in the format tab to RGB-709, then you will have those codecs available to you.
Michael
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This kind of gets back to the original question, but it seems that the colorist does not want to conform to camera originals, but have you conform back to camera originals and transcode to DNxHD 444. I too question the need for RGB-709 4444 considering your source material. Is this something you can ask the colorist his or her reasoning?
If there is a reason, then you would have to conform back to the Sony camera files, then transcode the sequence to DNxHD 444. I would change the name of your current “Avid MediaFiles” folder to “xAvid MediaFiles” so they go offine. Relink via AMA and transcode with handles. Then you have all the DNx material ready to go.
Michael
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Are you trying to copy your transcoded media to a target drive and color correct that, or are you planning on conforming and color correcting the Sony camera files? Depending on your need, your AAF export will have different settings.
Michael
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Agree – nobody knows everything and we are always learning!
🙂
But I do agree that even with green dot or the letters could have had a tool tip if you hovered indicating which transform was applied. WHich was requested during beta. That aside, I wonder how TSC translated in other languages.
😉
Michael
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It mostly works well on well recorded audio. When the quality worsens, it has a harder time and does not work as well as PluraEyes in those situations.
Michael
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And S is for spacial, and C is for color. These are transforms that are applied to the clips when either a LUT (C) or FrameFlex is active (S) via the source settings on the clips themselves. The timeline menu will give you a hint and you can turn them off if they start taking up too much space.
Michael
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That’s for monitoring where it adds a pulldown to a monitor that is only 1080i.
In Resolve 12.5, the new feature was the ability to add 3.2 as seen in this screen shot on the delivery tab:
If you can send me a small sample camera original that can be shared, I will make one for you to see if works for you and send it back. Use WeTransfer, or Filemail to send to michael[at]24p[dot]com
Michael
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Resolve 12.5 that came out in the last few weeks supports 29.97 delivery of 23.976 sources. I am thinking that 12.3.2 would be doing a motion effect type frame rate conversion which would explain the ghosting.
You do not need to convert to DF when going to 29.97 from 23.976. But you do raise I point I need to test. but I believe Media Composer multicamera just needs to have the same frame rate to be grouped, but sources can be DF or NDF when grouped by IN point. If grouping by TC, then they would need to be the same. But grouping my TC will be hit and miss anyway due to the conversion from 23.976 as there will be +/1 frame (maybe more) differences of where original and new frame boundaries lie.
My overall feeling is that when converting sources from 23.976 to 29.97 that the 29.97 be NDF as there is a known correlation of timecode should you ever need to go back to 23.976. The assumed relationship is “A” frame on timecodes ending in 0 or 5. DF would change that at every minute by two frames in the count.
3:2 and 2:3 are similar ways to say the same thing. It denotes that a field cadence has been done as part of the conversion process. To be super exact, it would be referred to 2:3:2:3 as the cadence occurs over 4 original 23.976 (24) to create 10 fields of video (2+3+2+3). You can have different cadences such as Panasonic’s recorded cadence for DV cameras of 2:3:3:2.
Michael
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You can have mixed DF and NDF sources in a sequence. The sequence itself can only be DF or NDF and of a single frame rate, but sources can be mixed.
Michael
