Shane Ross
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Unique timecode…source file names (reel, in essence). Did you assign a SOURCE to the AMA footage when you brought it in? Red has far more metadata than GoPro and Drone footage, thus why it links up easier. But H.264 sources are severely lacking. This is one reason the place I work uses Content Agent to convert the footage to high res DNxHD and then use those files as masters to create the offline codec footage we work with….it matches back easier.
The other option I mentioned…when you AMA link to the footage, highlight the clips and assign a SOURCE NAME…typically the name of the archive folder they reside, so that you give another bit of metadata to link to. And typically you should have different backup folders for every offload, because often clip names and timecodes will reset, so having different folders and source names in that case goes a long way in finding the right clip.
At this point you might be stuck over cutting
Shane
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[andy patterson] “Could it have been the zoom control of his TV like at 9:40-10:40 in the video below?”
No. Other stations didn’t look like that. Other shows after his didn’t look like that. Just his show, at that time.
Shane
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The best you can do is grade it on your end on the best quality monitor you can output to. Make sure you have a proper setup given the delivery medium and grade to that. EVERYTHING ELSE is out of your control. Everything.
Quicktime player and VLC player will play the same video, but look different.
Upload to YouTube and it will compress the footage, again, and you can’t control that. And their might be a color shift. Same with Vimeo. They encode multiple sizes to ensure smooth playback depending on connection speed.
AND THEN you need to know that Firefox, Safari, Explorer, Chrome…will all have slightly different looks when you play it back. Play the same video, same compression (1080) in Safari and Firefox, and you can see the difference. This is all part of how those browsers deliver the content to you.
This is something that, as a broadcast TV colorist, we have to deal with all the time. The best I can do is make it look good on my broadcast monitor…that’s calibrated. That way I know that I graded it to look like how we all want it to look on the best equipment. Beyond that…we have no control. The network we deliver it to compresses it for streaming via satellite, and that will cause a shift in colors…it won’t look like the original…it can’t, it’s compressed. And then, to top that off, the cable companies ALL play out that feed differently…and again, we can’t control that.
I color corrected a show for a client and they were in the bay with me, they saw what I was doing and we got the colors dialed in. And then he went home to NY and I was in LA. When it aired, he called me frantic complaining that it not only looked more washed out than he saw, but that the image was also slightly squeezed, he saw black bars on the top and bottom of the screen. I turned on the TV and went to the channel. On my end, yes, the colors were different, but I didn’t have the squeeze. He took a pic of his TV, and sure enough, there it was. He yelled at me for that…”WHAT DID YOU DO?!?!” I took a pic of my screen, and it was fine…so he calmed down a little. It turns out his cable provider did that squeeze, and couldn’t explain why. He had Cox, I had Time Warner. Same channel, both playing footage created from the same master…but delivered differently.
So you can’t control everything. All you can do is make sure that things look good on your end, with the best possible setup you can manage.
Shane
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I you do your repositions and scaling of the 4K footage in a 4K sequence, then you are blowing up your footage beyond it’s limits, and losing image quality. If, however, you put that 4K footage into a 1080 timeline (or 2K timeline) and THEN do your repositions, you don’t lose any quality. Because putting 4K into a 1080 timeline means, as Ann said, that your footage is only 50% the size it normally is…so if you push in, then you might get to 60%, or 70%. Unlike doing the same in a 4K sequence where you blow up the image now to 125% or so…for example.
It’s better to put the timeline clips into a 1080 sequence, then do the resize and repo.
Shane
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There is nothing you can do. YouTube recompresses the footage when you upload, to the varying formats to play back depending on the internet speed of the user. That recompression causes this…and you cannot control what they do. You can only provide them the best quality file to work from…beyond that, it’s out of your hands.
Also know that various players also play back differing quality….VLC and QT and other players won’t have the same look. Similarly, Firefox, Chrome, Safari, Explorer…even if watching the same video on YouTube, the colors will look different. Why? Who knows…that’s the code of the apps.
Shane
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Correct…FCX no longer sees external capture cards in terms of being able to capture. FCX does see them for output to a monitor, but FCX (Apple) thinks that tapes no longer exist, or the need to capture from them for use in FCX no longer exists. So they ignore it. But yes, you can capture via Media Express and that device and bring that into FCX.
Shane
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click on the words ANIMATED MARKETING VIDEO…
Shane
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Ah…smart! Camera to computer via FW, and then drive via USB 3. Good solution!
DV is interlaced, so there’s that. But if it looks different than other footage from the same camera captured much earlier…hmmm, wonder if it was shot differently. Not sure if different shudder would account for the interlaced look.
Sorry, stumped me.
Shane
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You need to transcode that footage to work with it in Avid. 1:1 is good, REALLY good, but it’ll take a VERY fast RAID ARRAY to play back. Very high data rate. But DNxHD is a compressed format that is visually lossless. Used on network TV all the time, many many workflows. So transcode to DnxHD. And then when done, do a SAME AS SOURCE export…this will not re-encode the video, but export it in the same codec. If you export 1:1…you are re-encoding. Less compression the better. So Same as Source, and then convert to H.264.
Shane
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The best you can do is export a ProRes master and deliver that. How it’s encoded by YouTube or Vimeo…and how Firefox or Safari or Chrome display that…is out of your control. Nothing you can do about it. I deliver shows to TV networks, and I can say that they get compressed by the network, and then sent out via satellite to various cable providers, who then encode that signal again for their delivery system. And I can’t control that.
So it might look one way on Spectrum in Los Angeles, but different on Comcast in NY, and COX in Missouri.
To top that off, everyone’s TVs (or in your case, computer monitors) are calibrated different, so THAT is a factor in what colors people see.
Shane
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