Pat Horridge
4
Avid Coins
Forum Replies Created
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You need to install the correct AMA plugins into Avid for AMA link to see and link to that media. Once linked you can add color adapters as required to convert the source into whatever color space you have Avid set to. Color spaces beyond rec 709 are available in projects with a format greater than HD.
Pat Horridge
Broadcast & Post Consultant, Trainer, Avid Certified Instructor
Free online Tutorials at VET digital media academy online https://vimeo.com/channels/752951
pat@vet.co.uk -
How exactly are you exporting from Avid?
If its QuickTime and then you chose custom and then a codec like H264 there will be your problem.
Mixdown to desired codec then export Same As Source. If need. E then transcode externally.Pat Horridge
Broadcast & Post Consultant, Trainer, Avid Certified Instructor
Free online Tutorials at VET digital media academy online https://vimeo.com/channels/752951
pat@vet.co.uk -
AMA link may just be called Link in the source browser under Input.
Once AMA linked you right click the cip and chose source settings and then Framflex. Framflex allows you to select the aspect and zoom of all the original source pixels (unlike import that’s lanes on ingest) yes you can transcode but you need to use the new DNxHR codec to retain Framflex contr.Pat Horridge
Broadcast & Post Consultant, Trainer, Avid Certified Instructor
Free online Tutorials at VET digital media academy online https://vimeo.com/channels/752951
pat@vet.co.uk -
Don’t import. AMA link then use frame flex.
Pat Horridge
Broadcast & Post Consultant, Trainer, Avid Certified Instructor
Free online Tutorials at VET digital media academy online https://vimeo.com/channels/752951
pat@vet.co.uk -
Create a new project. In the format tab choose custom and enter the Raster dimensions to create a square Raster.
Pat Horridge
Broadcast & Post Consultant, Trainer, Avid Certified Instructor
Free online Tutorials at VET digital media academy online https://vimeo.com/channels/752951
pat@vet.co.uk -
I’d go with the high clock speed.
Pat Horridge
Broadcast & Post Consultant, Trainer, Avid Certified Instructor
Free online Tutorials at VET digital media academy online https://vimeo.com/channels/752951
pat@vet.co.uk -
Dump the fire wire solution. You are limiting the data rate at best at at worst are ending up with DV compression.
Use a facility that can capture uncompressed ideally. Having a deck isn’t the same as using deck that’s mechanically sound and adjusted and electronically aligned.Pat Horridge
Broadcast & Post Consultant, Trainer, Avid Certified Instructor
Free online Tutorials at VET digital media academy online https://vimeo.com/channels/752951
pat@vet.co.uk -
Your camera codec will have introduced some losses based on the day rate etc. But you can’t do much about that (some use external recorders to avoid compressed codecs)
Pat Horridge
Broadcast & Post Consultant, Trainer, Avid Certified Instructor
Free online Tutorials at VET digital media academy online https://vimeo.com/channels/752951
pat@vet.co.uk -
Yes you can go the other way but unless it’s lossless you are compromising quality. Will that be visible today? Maybe not but will it suffer when uprezzed in 6 years time? Too bad if it does as you have made that choice.
Also you have issues with concatenation of codecs if you use another long GOP codec as a archive method.Pat Horridge
Broadcast & Post Consultant, Trainer, Avid Certified Instructor
Free online Tutorials at VET digital media academy online https://vimeo.com/channels/752951
pat@vet.co.uk -
If you start with ProRes then FFV1 doesn’t gain you much in the short term. But ProRes isn’t lossless. It’s around 5:1 compression. FFV1 is lossless. For archiving a 2:1 compression that’s lossless is a massive plus.
Pat Horridge
Broadcast & Post Consultant, Trainer, Avid Certified Instructor
Free online Tutorials at VET digital media academy online https://vimeo.com/channels/752951
pat@vet.co.uk