Shane Ross
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Well, when we have 4K masters, we make 4K proxies. Same dimensions, just proxy. DNxHR LQ…still 4K. So we use Frame Flex to do the push ins.
Shane
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Sorry, there is not. That’s unique to Premiere pro.
How do we go about it?
AMA link to the camera masters…put them into bins by card.
Transcode that footage to proxy.
Edit. Edit…edit.
When done…duplicate the final sequence, relink it back to the masters by having the AMA bins open, the drive containing the files connected, and RELINK.
or
Export an AAF into Resolve, bring all the media into the Media Pool. Import and relink to the mastersShane
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You are missing that 59.94i is 29.97 interlaced. The number before the letter refers to IMAGES per second. Since interlaced footage has two different fields in one frame…it is then 60 separate images, but running at 29.97fps.
But when I create a new sequence, and look in the DNxHD list, I see 1080i59.94. So just choose that.
Shane
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I take mine in to a calibration expert who does it.
Shane
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Took me a while to see it, finally did in the white shirt.
That’s a sensor issue. The footage is recorded that way, that’s what’s coming off the sensor. You need to tell the camera op right away what their camera is doing. Maybe have them test shoot in other locations.
Shane
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If you have Quicktime Pro, open the file…then go WINDOW>SHOW MOVIE PROPERTIES, and uncheck the left channel (Ch1). If you don’t have that, DIgital Rebellion has QT EDIT, part of the Pro Media Tools, and it will do this.
https://www.digitalrebellion.com/promedia/
That way, you don’t need to re-encode the file, you can just turn off the bad channel.
Shane
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This is why you need to give clients QT files with visible time code burned onto the image. That way you get completely accurate numbers. Often when you encode files for clients to watch, time code metadata is removed, so they can’t see it, even if their player had an option to show it. (QT has an option, but often that metadata is gone, unless you give them the high data rate masters).
Always provide clients with QT files with burned in time code. It’s an option in the EFFECTS tab in MEDIA ENCODER.
Shane
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What David said. Make it look normal (exposure, white balance), then go for the look.
Shane
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[Ben Harris] “I guess my question is – would Premiere deal fine with DV codec for a 5 minute timeline or do you still recommend transcoding to ProRes?”
it’ll deal fine. That’s an SD codec, and a lossless one (digital transfer of 1s and 0s…absolute zero quality loss)…and it’s very light. Drawback, it’s most likely interlaced, which will have to be dealt with if you are going to post online. But DV is a far lighter and easier codec to work with than ProRes or DNxHD. That being said, I would suggest converting to ProRes AFTER you are done editing…and only the footage used in the edit. If you intend on delivering an HD master, this would entail upscaling it to HD, but still maintaining the aspect ratio, so going 1440×1080…and de-interlace it when you convert.
[Ben Harris] “We also have another 2TB of footage, half as MP4 and half as MXF. Again ideally we’d transcode this to ProRes but with time constraints do you think it is worth the risk or is it likely to cause a buggy project?”
OK, MP4 is a format that can be hard to deal with, or OK. If you have time constraints, I’d say leave it as that. Now, MXF…that’s just a container. The media can be 1:1, 14:1, DNx36, DNx145, DNx220…DHxHR, XDCAM…OP1a…even ProRes (You can have ProRes MOV, or ProRes MXF)…so without knowing what codec you are talking about here…well, it should be fine. MXF format codecs are typically fine to edit with without converting. But again, depends on the specific codec.
Shane
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I view clips in the source monitor and add locators (markers) there….BEFORE I cut into a sequence. If you need them updated in the sequence, then you need to re-cut them into it.
Shane
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