Sean Bale
Forum Replies Created
-
Hi Michael 🙂 Thanks for your reply — we would really prefer the Metafuze-workflow. it seems simpler and easier, and it is gonna be a non-tech-person who’s converting the files on set…
-
Thx again!
One last thing – I just stumbled upon an article about Sorenson Squeeze, where the new version has integrated AVID conversions – letting your convert all formats straight to dnxhd.mxf … it seems like a much simpler method.
Do you have any experience with this? Does it keep all the metadata intact?
-
Thx Michael!! This seems like the sure-thing way of doing this workflow… especially since AVID themselves recommend it as an option in the white paper (although I dont get why MetaFuze is PC-only)
Could you direct me to a tutorial on batch-converting thru Resolve ? (Google hasnt been much help)
And why would you recommend using the filename as the reel-id? Are you talking about in the Alexa-settings? Or in the transcoding?
Sean.
-
Thx for the replies again – we’re getting a little closer to a solution 🙂
We have abandoned FCP completely, decided on offline in AVID, exporting an EDL or AAF, letting the post-house do the online…
Still, we would like to convert all the prores.mov material ON SET to DNxHD36.mxf. The thing is, we’re away on a shoot for 8 weeks, and would like to return home, and be ready to edit straight away…
And, we dont have an AVID setup with us.
Is there any 3rd party apps, that does this? Easy to convert prores.mov to dnxhd36.mov – but preferably we would like to have all the material in MXF…
-
Thx for the replies…
1) Any real reason to go back to FCP?
Well, I see your point. The only real reason is, that we made a deal with the post-house, that we would deliver a 4:4:4 ProRes file ready for grading – no need for them to online. And since we were planning on doing this from FCP, this was an easy deal. Now with AVID involved it is getting complicated… -
Thx!! Works perfect!
-
Thx for the replies – and thx Joseph, this is exactly the method I use now. Creating a blu-ray disc-image from toast…
The only thing I worry about is the quality of encoding. I have used Toast a lot for dvd authoring, but I dont like the encoding – so I’ve always used compressor for the encoding part.
Do you know if the blu-ray encoding quality of Toast equals the quality of compressor??
I did a little comparison, and couldnt tell any real difference – but it was a quick test, on pretty lousy footage anyway…
-
Thx!
So, does the source-codes becoming meaningless as in useless or not-needed?
The post-house takes the EDL in electronic form. They have an AUTODESK setup, using one machine (FLAME i think) for on-lining and LUSTRE for COLOR-grade.
The workflow as I understand it; getting my EDL they will re-scan the 35mm raw-material, online in flame, and grade with the DP in lustre next week…
I have talked to them several times, but the koordinator I am in contact with seem a bit unsure. She said I should just give her a list of the clips concerned. The problem is; I have maybe 5 clips of 100 that is NOT SPEED-CHANGED. Maybe that list for her in hand would take ages, and the original EDL is pretty much useless…
Honestly I dont know what they want or how they want – I just hope they wont blame me if the onlining messes up 🙁
-
THX so much for the help!
-
THX!!
But thats the case with EDLs in general right? (that most effects wont tranfer)
The EDL is for online at a post-house. All FX-work will be done later.
BUT; I have done several speed-changes in clips (not keyframed variables, just constant speed alterations) and a few dissolves. Will those transfer?