Paul Campbell
Forum Replies Created
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Marc, thanks for all of this, and everyone else, too. I could keep asking you guys questions all day, but I fear it’ll get off-topic and I don’t wish to annoy the Admins. (This thread really picked up some steam, for me anyway!) My original question has been more than sufficiently answered, and it’s been quite an education.
Happy Holidays to all of you, and I’ll see you out in the ether.
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Thanks for the link, Ole.
Of course, now I have more questions about using Optimized Media in Resolve, but I’ll save that for a new thread since it’s off-topic from this one.
Stay cool, herd.
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Hey, that’s a fine analogy right there, so fine in fact that I’m using it from now on. Ok, I get it. (This time I actually think I do ☺ ) Thanks again.
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I’ve used this analogy before, but transcoding H.264 to PR would be the video equivalent of converting an mp3 back to wav, yes? You can’t get the original uncompressed information back, all you’re doing is creating a larger file size, but it’s a necessary step if you want to color grade since you’ll at least be grading in 10-bit space, yes? This of course is with the big “if” you mention. I guess all I can do is transcode and compare, and hope the transcode preserves the original. I’ll have to shoot some tests and do an A/B.
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Very slick, thanks for pointing me in that direction!!
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So is the point of this to do the edits with file copies that behave better in the timeline, like proxies? You edit the proxies, these edits get carried over to the original files, and then I go in to grade?
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I’ve not worked with 4k material so far, but I imagine the file size of a transcoded h264-to-PR422 must be ginormous. But hey, drive space is cheap nowadays.
So, for now the workflow will probably be h264 footage -> MPEG Streamclip/transcode to pr422 -> import/cut in Resolve -> export to Compressor -> crunch to mp4 (most of the time for me, anyway).
I suddenly find my focus shifting to cameras that can stream directly from their hdmi ports to one of those Ninjas to avoid acquisition compression. I know the t5i can do this, but the hdmi output isn’t true 1080p, so it would be a waste of $. But this is a discussion for another forum ???? Thanks again. I’m glad I started this thread, it’s been enlightening!
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Curious what camera was used to shoot 4k with H.264, but from what I’ve learned here there are a ton of things out in the world that acquire with H.264, and not just DSLR’s.
Buy hey, since you brought it up, would you mind describing briefly your workflow with this project you mention? Are you transcoding the H264 stock stuff to PR so that it will play nicely in your timeline without giving your processor a migraine? How was the other footage compressed that isn’t H264? (Or maybe it was shot with a serious rig, and there was no compression to begin with??)
This is what I love about the Cow. Just when you think you’re done, something new pops up and pulls you right back in. I feel like Michael Corleone from Godfather III ???? Thanks again, Marc.
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Got it, thanks Marc. Fortunately for me, my projects certainly fall within the scope of “internet short” and “student project”.
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Ok, that might’ve been the best short-long, terribly simple and detail-omitting reply ever ????
Clearly, I’m a 4:2:0 guy with aspirations to continue growing in a field that has me so obsessed lately. This has been a very productive thread for me, and I really thank all of you guys for planting just enough seeds to keep pushing me forward. Now it’s time to wiki and then hit you up again later. Stay cool,
Paul