Shane Ross
Forum Replies Created
-
Well, if you have enough drive space, that’s fast (RAID drive, Thunderbolt connected) then transcoding to DNxHR and working full res can be an option. If multicam, then a pretty fast drive needed due to multiple stream playback. But with that little footage, you should be able to edit full res no problem, and not need to do the offline/online workflow.
Personally, I’d edit 4K…DNxHR.
Shane
Little Frog Post
Read my blog, Little Frog in High Def -
OK….VERY IMPORANT QUESTION HERE…
59.94i or 59.94p? 1080i59.94…or 720p59.94? Or 1080p59.94?
I can assume (which I hate to do) that, being for network TV, it is 1080i59.94…unless it’s ESPN or ABC or FOX, that is 720p59.94. SO…1080i59.94 runs at 29.97fps…interlaced. Which means that 23.98 to 59.94i will have to have pulldown added to make it play smooth. (But I think you knew that as you state 2:3 pulldown, I just want to be clear).
I believe the advice given is right. One thing I might try also is to export a 23.98 master, and bring that into a 59.94i project to see if that does what’s needed too.
But do note that 23.98 is NDF only…so timing will change. This might be something you know…I’m not sure. But show deliveries to networks are required to meet strict Drop Frame timings. And 23.98 can’t do that, so you need to calculate what your 23.98 sequence needs to be so when converted, it meets the 29.97 DF timing.
Shane
Little Frog Post
Read my blog, Little Frog in High Def -
Yes. Email me at comeback at mac dot com.
Shane
Little Frog Post
Read my blog, Little Frog in High Def -
[Dennis Lisonbee] “How many 2012 Mac Pro’s are still in use and how many are being used as Media Composer workstations?”
Thousands. And older MacPros as well. The company I’m at has a dozen. I know of another production house that has 100+ Avid workstations…all older than 2012. That cheese grater MacPro is still in use by hundreds of companies. Mainly due to cost of upgrading…and the fact that we work offline 14:1 or DNx36 and don’t need the horsepower. So while the company I am at has been on top of updates…it will stop at 2012.11, until they upgrade many machines. WE have been slowly, but it’s tough to invest in a 4 year old Tube Pro that still commands full price.
[Dennis Lisonbee] “it is a sad day as the 2012 Mac Pro is one of the best computers ever built.”
And also 7 years old…ANCIENT in computer age. It works GREAT with older software, and even up to Avid MC 2012.9. But the thing is, if you want to stay current with software, eventually you are going to need to upgrade your hardware.
[Dennis Lisonbee] “Unfortunately, Apple decided it was not financially wise to create computers that were so well built and upgradable so they went to a non-upgradable trashcan.”
It is rumored that they will release an upgradable, modular MacPro this year…later this year. But what Apple means by modular and upgradable doesn’t mean what it used to anymore. FCX is their tool of choice, and it runs great on iMacs and MacBook Pros and has over 2 million users…and the number of people who need a modular MacPro is pretty small in comparison, so for many years, they didn’t make one. I don’t expect the one they release to be any good…not getting my hopes up. All they care about is thin thin THIN! anymore.
Shane
Little Frog Post
Read my blog, Little Frog in High Def -
You can’t…Adobe isn’t designed with that in mind. Resolve will do this, but it’s designed to. You either need to work with the original clips with the color applied to them, or export them as new masters…new names, new TC/
Shane
Little Frog Post
Read my blog, Little Frog in High Def -
Just don’t put them in the numbered folders…might be best to keep them out of the MXF folder. So yeah, right in the Avid MediaFiles folder…shouldn’t be a problem’
Shane
Little Frog Post
Read my blog, Little Frog in High Def -
Since you need to highlight the clips you want to transcode, and you can have only one bin active at a time…you can only transcode one bin at a time. YOU CAN, if you want, put all the clips in ONE bin, and then transcode.
Shane
Little Frog Post
Read my blog, Little Frog in High Def -
YouTube will take what you upload and encode it several ways…to deal with just this. They encode 1080p, 720p…and 480p…not sure if they go lower than that. But really, no matter what you upload, YouTube re-encodes it. This is a case of “it’s out of your hands,” because you cannot control your clients internet connection, nor what YouTube does to the video encoding.
Shane
Little Frog Post
Read my blog, Little Frog in High Def -
I agree…you’ll get that film look shooting 25p…it’ll look like 24p..
Shane
Little Frog Post
Read my blog, Little Frog in High Def -
Well, to tell you, we’d need to know what the workflow for making the DNx36 files were. A lot depends on that
Shane
Little Frog Post
Read my blog, Little Frog in High Def