Shane Ross
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Its’ been solved. Google Chrome messing with non SIP enabled macs or whatnot.
Damn, and I was just about to spread the rumor that it was Apple causing this. making Avid crash in bizarre ways to make Hollywood fearful of using it, and turning to FCX as an alternative.
Ah well…
Shane
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Color space is typically tied to a codec. ProRes 422 can only be 4:2:2…thus why it is called ProRes “422.” HDV is a format that can go 4:2:0…as are a few formats of H.264…and XDCAM. So…when they say they need it to be 4:2:0…what CODEC do they also want it to be? Only certain codecs can be 4:2;0. I’d think the codec type was more important than the color space.
Shane
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When you consolidate, it keeps the original frame size. If you want the 4K downconverted, you’ll have to single that footage out and recompress it.
Shane
Little Frog Post
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4K…60p….MP4. There’s a lot going on here.
First…for 4K 60p you need FAST FAST hard drives to play that back. Not a single SSD…but a RAID of drives. You need SPEED to play that back…
But then…second…MP4. Compressed codec that takes a lot of system resources to decode on the fly. 4K 60p MP4? You seem to have enough for the decoding part, but the drive speed might be an issue.
Try transcoding the MP4 to an editing codec, like DNxHR…or ProRes 422 if on a Mac. How does playback work then?
Shane
Little Frog Post
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It won’t drop any frames unless you tell it too. If you take a 60fps file, and encode to another 60fps file, all 60fps will be there.
Shane
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Well, not sure what exactly to do. I’d be inclinded to have them fix it…give them the QT Reference and say that they needed to online and grade the show as it was cut. Any online editor worth their salt will know how to make things match. BUT, because you didn’t get them a QT reference, they might not have known that they were messing up any re-framing and speed ramps. So you might need to redo all them on your end. If you don’t have enough media for the speed changes, you might need to ask them to do those again, keeping in mind the change in speed.
The whole point of the online editor/colorist is to take your offline cut, and make it full resolution, and look good. If they didn’t make what you cut…specifically what you cut…do that, then they didn’t complete the job. If this person is ONLY a colorist, says that all they do is color, and not deal with these issues (although really, even colorists need to know how to troubleshoot stuff like this)…then you might need to “online” those sections yourself, to get them full resolution, and with the desired effects, and then ask them to grade those. Providing them with QT refrernce so they are sure to keep things the way they are cut.
SOMEONE technical needs to be in this mix. Someone who knows how to prepare a cut for a color grade, and prep the footage that might not transition properly, so that the colorist can color it they way it is intended to be cut. This might entail bringing in the footage full res, doing the speed change, exporting that as a separate media file, with the speed change baked in, and then drop that on V2, so they see what it is supposed to look like. Same with any footage or areas that have plugins or effects…need to be made full res QT files that they then grade.
Shane
Little Frog Post
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As a colorist, I want three basic things from my clients:
1) Compressed QT with visible timecode to use as a reference from the offline so I can see how things are framed, if there are speed changes, any effects…compare them to what I have in the timeline.
2) A consolidated sequence, media, and AAF/XML so I can use as much of the original RAW as possible. Camera masters as well, so I can link to those directly and not transcoded media. Graphics, stills.
3) IF POSSIBLE, if they bring the full res footage online before getting it to me, a full res QT export of their project. I use this as a patch when needed. Such as moves on stills or if there are any plugins or transitions or effects they have that I don’t have, and don’t transfer. Because that happens A LOT.
The fact that your colorist didn’t ask for a reference QT, to compare shot framing, resizing, graphics, effects…I find concerning. That, right there…#1…is something ALL colorists I know ask for, is a basic need for the online and grade. Now they messed things up and you are left with cleanup.
Shane
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OH! Natively CREATE ProRes encoded files on Windows! You can now not only use the RAW format, but ENCODE to ProRes. Well well…finally, one of the reasons keeping me on a Mac was that, and now it’s going away (Just need Resolve to support ProRes encoding on Windows and that’s done).
Not sure how Apple is going to be able to push the new MacPro on people now. FCX users can manage just fine with an iMac 5K or iMac Pro.
Wow…big news.
Shane
Little Frog Post
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IN Lion? Nah, you’ll be good. Did you get Lion installed?
Shane
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What are your project settings? 4K? Or higher?
Shane
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