Ross Tokach
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Apple doesn’t like it when people actually make money using their software…
“Oop, I think my render is done!”
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Iwastedmoney 1.slow
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The software only supports single monitor applications, tapeless media, it is a self contained GUI, Nothing is copy pasteable, hotkeys are limited, no plugins, no codecs, all the apps are sold seperate,
This thing is as far from pro, as imovie. Crap apple, pure crap… Back to Avid or any other program but fcpX… I would rather cut with media 100…
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Nothing good to say about the product…
“Oop, I think my render is done!”
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use size controls to go to square pixels, then upres to 1080p or cross convert to a progressive format. This to me is the best way to go about it, in compressor, you can use straight de-interlace, but that will leave you with a washed image and it prob wont get through QA. This is of course, if you just want to get a interlaced image to uprez without tearing, if you want to alter the frame rates without audio flux, that is a different issue.
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I am working on a doc right now that has many different mixed formats. I am transcoding to prores 422, I have hv20 that was 60 i, I reverse telecine’d that to 24 fps. My client wants to finish on film, so I am going to 23.98 with everything. I also have p2 footage that I transcoded to PR.
Now, the question I have is, – I canon 5d footage, it is shot in all three formats that cam offers, including some 60 fps footage. I am wondering what the best transcode settings are, to bring the 24 fps, the 30 fps, and the 60 fps transcode up to project speed. I tried a simple transcode, from 60 fps to 24, it went into slo-mo. Is there a way to transcode it, so I am not having to speed it up 250%?
Also, with the 30 fps footage, it says it is upper field dominant, I thought this cam only shoots progressive?
Sorry if this question is written sloppy, I am tired and it was a long day in the lab…
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All of the above are supported, the fact is codecs. Every company decides they need to come up with a codec, then they patent it. I am not going to mention names but lets just say a fruit.
When I spoke with the engineers at Media 100, they told me that they were unable to package the codecs, you must buy software to get them. Like, quicktime pro, final cut, ect.
As for 720p 23.9 they do support it in media 100. I have seen it with my own eyes, on a big daddy mac. The new AJA is capable of taking in HDMI, this is the best way to capture 720p imo, in realtime, unless you have a good capture card. I
have seen sync drop on the progressive captures via component. IF you go in with firewire, make sure you set a good pre-roll of at least 5 to 10 seconds, this will allow for the computer to buffer and get the HDV signal started.
I prefer to always stay uncompressed, so I trans-code all my footage at the beginning, into one format. If you start to lay down many different formats, the compression ratio changes. It’s similar to sampling on a CD. The more times you chop up the pie, the smaller the chunks of good fruit and the more opportunity to get air into the pie.(That is my fruit>binary comparison, hope its not too deep.)
I like to keep my footage in its native format when digital, like R3D or P2. This makes for better blacks, imo. Then render online when completed. I would make proxies, but the client wants it cut online. My client knows Media100 and is comfortable with it.
We are cutting a doc with many different formats and we want it to finish out in one ratio and no pillars, so we are going to DVCpro and cutting live.
I like the Matrox! I don’t own one, I would also like one of the new H264 faster than realtime encoder cards. Then I would cut everything at ProRes 4444, anyways. Good luck, thanks for the help.
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I have contacted Media100, they build a system identical to mine, they had the same problem. It is an issue with the new AJA breakout box’s firmware and they are going to get an update out ASAP. Thanks for all of your help, I knew it had to be something funky.
Ross Louis Tokach
Motion Picture Assembly Artist
ArchFX Studio, CA“Oop, I think my render is done!”
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Yeah, my avid ect, runs rock solid, but I have a project I picked up in the middle and they began on premiere. I prob could have started over quicker. I love adobe and its products, I just feel like they are trying to push the ram envelope a little too much. They should try spec’n the programming to harness the bottlenecks that are created at the drives. I am pretty sure most of the issues are because of bottlenecking from the external G-raid.
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My maya, avid, massive and every other program runs stable. I shut off User account controls on windows. I guess I am working a lot with the red lately… That thing is a pig of a camera, the workflow is nice, however even with a 1k proxy it loves to kill labs. I am pretty sure my issue is the newness of the technology behind redcam and Adobe.
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