Michael Phillips
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COW Coin
Forum Replies Created
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You got it – if the source codec is considered “native” to Media Composer, then you should be able to just consolidate. If not, then you need to transcode as well in order to export a “same as source” for encoding in a third party application.
Michael
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What the camera format and codec you are trying to link to?
Michael
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I would transcode to DxHD 175x (assuming 23.976) from at least a half-good debayer assuming the RED was shot 4K or higher for dailies. Or you could do a 1/4 debayer to DnxHD 36 for an offline edit, relink the sequence to the original R3D files and then do a transcode at full debayer for just the sequence (+ handles).
If you open your clips in RED’s free Redcine X Pro, you have all the parameters available for image adjustment. In “preferences” you can set it to “always save RMD” whenever you make an adjustment. RMD is the sidecar XML file that carries all the metadata for the parameters. You could decide to just make Avid MXF DNxHD media right there and I prefer doing it there than in Resolve (for R3D only).
Or.. AMA link to the RED files, select all the clip, go to source settings, and on source setting tab, select RMD from the menu. It will be applied when transcoding within Media Composer.
Michael
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As an FYI – upon further investigation with Canon on the 24.000 limitation, it is actually an Avid Media Composer issue and not a Canon AMA issue. From Canon:
Avid supports 24.00, but not in Long GOP format which is what the XF-MPEG Codec records in. Not a Canon AMA issue, but a lack of support within AVID for that format.
So there you have it. Getting to the bottom of these issues is always painful in trying to get to the heart of a problem when multiple vendors are involved. 🙂
Michael
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If finishing at 1080 and color correcting in MC, then you can transcode to a DNxHR resolution (if in 8.3/8.4) at the clip’s original source resolution and have the additional resolution for any reframing needed. If not, then transcode to 1080 and this can be done in either Resolve or Media Composer. If transcoding to a final mastering quality, then you want to use a higher quality debayer which will take more time, but will end up with a better image.
The bigger question is for color space – when transcoding from R3D you need to bake in whatever color space and gamma set from the R3D files into your Avid project color space. On features, that is done as Redcolor (3 or 4) and FilmLog which puts as much of the dynamic range of the source clip into your output format. The image will be very much washed out but this gives the colorist as much info as available. But you may choose to bake in whatever settings you have from camera, or adjusted via the RMD file. Keep in mind that Media Composer still does not display all the parameters available in source settings (arrrghh), but will apply them if in the RMD. So I usually do all that work in Redcine X Pro, save rMD file, then apply that in Media Composer when transcoding.
Michael
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RED ROCKET accelerates decode for a transcode. It does not accelerate playback. It also kicks in when rendering an R3D file, but only as a function of a decode, same as a transcode.
Michael
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Most third parties are taking advantage of the GPU debayer of the R3D files that has been available in their SDK reducing the need for a ROCKET card in many situations.
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I don’t know if I would be the best person to review this as it doesn’t really fit my workflow that much. This is more a machine room class type product with lots of signals. My only signal need is output for monitoring I am not capturing any signal based anything, much less at 4K. My world is file based – all resolutions. The on-board monitor is a confidence monitor (for a machine room) to know that a signal is passing through. It has been started that none of the frame rate conversions are handled in hardware so that will continue to be a function of Avid’s mix & match. For me, the Ultrastudio 4K (not the extreme) is a much better fit at a much better price.
According to the FAQ, a lot of functionality is still yet to come, but that anything specifically added would be part of Avid’s Open IO which means other products in BMD lines would benefit as well as any other third party card. In my world, Resolve is an important component, thus the reliance on BMD I/O. Fusion will grow in my workflow but for now the connector is not important due to the offline/online nature of the work I do.
Michael
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Other than a press release of Fotokem committing to them, I do not believe anyone in the public has seen it in use yet as it is not yet available. My guess is Q3 – when in Q3 is unknown but I would think before IBC or IBC at the latest.
I don’t know about the difference in Thunderbolt between the two. The FAQ only seems to reference a single Thunderbolt 2 connection:
Q: How does Avid Artist | DNxIO connect to a host computer?
A: DNxIO will connect to a host computer via a Thunderbolt 2 connection or a PCIe connection to a HIB card in the host.https://avid.force.com/pkb/articles/en_US/FAQ/DNxIO-FAQ
BMD Tech sheet shows 2 connectins:
https://www.blackmagicdesign.com/products/ultrastudiothunderbolt/techspecs/But I would have to think, that there is not a remanufacturing of the I/O box in this case, so I am going to “assume” (for now) that DNxIO has the same.
Michael
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The difference being “all media” versus media used with any one or more sequences. The method the OP mentioned from the MediaTool would allow you to see all master clips associated with a project (via the project column), move those to a bin and consolidate, or make a sequence from the master clips and consolidate the sequence.
Michael