Shane Ross
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Try converting the footage to something else, like DNxHD. XAVC-S is problematic when it comes to editing, even in Premiere.
Shane
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4K…what codec? Playing off what hard drive? Connected how?
Shane
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[Amy Trent] “FCP 7 for me, but I do need to edit 4K soooooo…”
Transcode to ProRes 4444…and get really REALLY fast connection hard drives. Thunderbolt…and RAIDed to boot…two drives or more. Or you can use the offline/online process, but only if FCP 7 can recognize the camera format in Log and Transfer…
Might also look at Adobe Premiere pro…
Shane
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Noah, not from a camera card. He said this was Avid consolidated media
Shane
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Don’t do that trick with YouTube downloads. Those are all MP4 variants. Make a DNxHD or ProRes or Cineform sequence, and edit in that.
Shane
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You need to clarify with them…do they want 30FPS…29.97 interlaced. If so, then 59.94i is the proper technical term for it. No one uses 29.97i except perhaps AJA in their settings for FCP 7. The proper name is 59.94i…as the number refers to how many IMAGES per second. Interlaced is two images per frame…30fps…thus 60 images.
Or do they want 29.97p…30p…PROGRESSIVE.
What they have in the above specs doesn’t specify interlaced or progressive…
Shane
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Edit 23.98, and export a 23.98 master, and then make a 59.94i master from that.
NOTE!!! 23.98 is drop frame timecode only, so if you have a specific target timecode to get to at 29.97, then you need to calculate that…calculate what you need to edit 23.98 to for it to convert to the right time at 29.97. Avid has a simple timecode viewer tool for this, not sure Premiere has the same thing….I can’t see it.
Shane
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OK…choose your final deliver format. So 1080p, (don’t say “FULL HD,” that’s a marketing term that professionals don’t say, and it makes you sound like a beginner. You are, but don’t let people on by using that term.
Now…Frame rate. 1080p…what? Normal deliveries are 23.98 and 29.97. SOME places can play back 60fps…60p. YouTube being one, but not many others. It’s not quite a standard. Now, 180fps…you shot that to be Slow Motion, correct? Then you might need to process that to 23.98 or 29.97 before you bring it in. Or simply AMA link to it, and then adjust it after, but there is no 180fps format to transcode to.
Shane
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You don’t need ANY of that. This is very simple. Just change the timecode display in the source side to display 30DF code.
Click on the top timecode, choose SEQUENCE>Timecode>30DF
Done
Bonus picture of my wife playing banjo…
Shane
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[Andrea Bonomelli] “Can I simply network two machines together with ethernet (1ge or 10ge) and add a share drive that both can access?”
Nope, sorry. You need a server connected to storage to do this. And if you want to share project, then you need to look at options like ISIS, NEXUS, Facilis…others.
[Andrea Bonomelli] “I read Avid requires ISIS or Unity for how it writes the data but I heard of workarounds with bins.”
If you want to share project, you need hardware that works with Avid in a shared project capacity. Not all servers and drives do this. I have seen people post highly technical workarounds, and I’ve tried a couple, but they weren’t worth the headache. You’ll need a SUPER geeky IT person to do this and maintain it…and they need intimate knowledge of how Avid works as well.
Shared storage via a server is easy…and if you want, you all can send each other bins of changes. But if you want shared projects, you need specific hardware.
Shane
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