Ryan Holmes
3
COW Coins
Forum Replies Created
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I have the Avid MC Color and love it. Controls feel tight and quality (not plastic like some of the other panels). It takes up less room than the other panels as well – which was good for my situation as my desk has limited real estate.
Drawbacks are there aren’t as many knobs and buttons as on the Tangent panel, so you may have to use an extra button or two on the MC Color to access the same feature that would be on the top level of a Tangent panel. Also, the MC Color works over IP, not USB. That can be a hangup for some people with limited switching ability.
For my needs and use I’ve really enjoyed the MC Color.
Ryan Holmes
http://www.ryanholmes.com
vimeo.com/ryanholmes -
Have you tried playing it back using a different program instead of WMP? Or on a different computer?
What are your encoding settings – frame rate, data rate, keyframes, resolution, etc.
Ryan
Ryan Holmes
http://www.ryanholmes.com
vimeo.com/ryanholmes -
Like Dave says, what else are you running? DaVinci Resolve, Premiere Pro, Avid, FCP X, After Effects, Motion? All of these programs can benefit greatly from powerful graphics cards which you’ll find in the Mac Pros (and can easily upgrade).
But I agree that the Mac Pro line is on the way out. I’d guess Apple will give it one more spec bump around April/May of this year when Intel releases the Ivy Bridge chipset. That’ll sell for 2 more years and then be discontinued around 2014 or 2015. So you may be able to have one last hooray with a new Mac Pro.
Ryan Holmes
http://www.ryanholmes.com
vimeo.com/ryanholmes -
Jeremy,
What about Petros’ suggestion: “If you remove that clip from the equation and test with other clips that are consistently DF on a DF timeline, can you roundtrip with FCP and get the cuts you expect?”Ryan
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I’m no help here, but we experience the same thing at our shop. It happens for us with DSLR footage all the time (transcoded or not). As best we can tell it corresponds to the time code in the file, how PP reads it, and how PP interprets it upon XML export.
Our common problem lies in going from PP to DaVinci Resolve. The cuts come into Resolve nowhere even close to what the PP timeline actually shows. My only guess is that PP is having problems dealing with the timecode/metadata of the file. I never had this issue with FCP7.
Glad to know we’re not alone over here….sorry I’m not more help.
Ryan
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I shoot with a Canon 7D (the 5D’s “little” brother) and the files aren’t huge. Because of the FAT32 formatting the file sizes are limited to 4GB. So no file he sends will be any bigger than that.
If he takes the 5D file and then transcode to lower bit rate h.264 then you are losing quality (too much in my opinion). I would strongly argue against transcoding a Canon DSLR footage to a lower quality data rate before editing.
Is it feasible to send a hard drive? He could load all the files on a hard drive (or even flash drives) and send them to you via UPS/FedEx or something.
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If he’s shooting on a 5D just have him send you the raw h.264 .mov files. You can transcode them yourself once you get them. That’ll save them from doing it (and possibly messing it up) and make the files easier to move across the intertubes. Nothing is really gained by having them do the transcode on their end.
Once you get them transcode to ProRes or DNxHD do your edit, color correct, etc. Then output to XDCAM.
Ryan
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DNxHD is a good choice as Ramil said. If you’re working on a Mac then ProRes is a great choice. Those two formats would retain an ample amount of quality for color correction and compositing.
If you just want small files to edit then h.264 or AVCHD is the best size vs. quality codecs. Keep in mind these codecs “throw away” a lot of information and aren’t the greatest when pushed into color correction or compositing situations.
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ProRes can do SD or HD, 4:3 or 16:9.
Ryan
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DaVinci Resolve has an excellent scene detector in it. It’ll output an EDL which you can import into FCP7. Download the Lite version free from BM’s website, import your Quicktime and scene detect away.
Ryan