Shane Ross
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OK, so the footage was shot 16:9. Then work with it 16:9…online and grade 16:9. Might even output 16:9 4K. BUT THEN…bring that back in, and crop it for those other deliver needs…square and 9:16. As you’ll need to “pan and scan” to make sure the area you want seen is seen. And this will have to be done shot by shot for each aspect ratio.
Shane
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OK, from Davinci, you need to use a Blackmagic Design Product. And the ULTRASTUDIO line is the ones with THUNDERBOLT connectivity. The Ultrastudio MINI MONITOR is the cheapest, simplest way out. Thunderbolt connects to your computer, and then HDMI and SDI outputs. NOW…that MacMini will also need a device to bring in the video…so get an Ultrastudio MINI RECORDER that also has SDI and HDMI on it…and just put a small cable between them.
Both of those devices are about $145 US.
Shane
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Not sure…because I do it and it works. Why yours won’t…I just don’t know.
Shane
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[Maciej Chmielewski] “1. Let’s assume for a moment that I have all the right equipment listed. Do I need an external waveform monitor and vectorscope or the calibrated broadcast monitor built-in scopes will do the trick?”
I have one built into my monitor, Flanders Scientific model. If I DIDN’T have those, I’d use ScopeBox on a MacMini. Hardware scopes are NOT cheap.
[Maciej Chmielewski] “2. I’m also curious about this gamma differences. I forget to mention that I use Davinci Resolve to CC my footage. In this scenario I import rec.709 2.4 gamma video to Davinci. Since my external monitor only uses sRGB color space I set the project settings to rec.709 2.2 gamma. After CC I export but using rec.709 2.4 gamma profile. Please tell my how much will it affect final brightness of the image comparing to the source footage.”
It’ll be slightly darker than what you graded to. Computer Monitors tend to be brighter than TVs, and yes, 2.4 opposed to 2.2, slightly brighter, in the mid range.
Shane
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If you need to deliver a show to be broadcast over the air, then you’ll need to have the proper setup to view that, and grade that, to meet online specifications. This means the computer needs to have an input/output device connected to it (Avid DNxIO, AJA Io4K, Decklink options) that are connected to a calibrated broadcast monitor that is capable of the Rec709 color space. You’ll also need scopes capable of displaying a waveform monitor and vectorscope, so you can see that your colors are in the right range, and that your whites don’t go above 100 IRE, and blacks below 0 IRE. You’ll need to export a video master that meets certain video specifications, or it will be rejected by the network Quality Control.
Viewing this on your MacBook display won’t be accurate. The SOURCE and RECORD monitors in the Avid interface aren’t color accurate. And while Avid does have the scopes available in the COLOR workspace, because it doesn’t monitor the video signal coming out of the computer…it’s not in the signal path. So it won’t see that your whites might be a tad hot.
I don’t say this to be mean…just telling you that when it comes to broadcast delivery, the video needs to meet certain specs, and to monitor that, and truly see what your image looks like, you need certain equipment.
Shane
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[Rienk Lwendertse] “So the 4k GoPro footage will be AMA linked and then transcoded to XDCAM HD 35 (which is 1080p).”
Don’t do this if you want to utilize FrameFlex…transcode THAT footage to DNxHR LB.
[Rienk Lwendertse] “The GoPro clips are 8 minutes long clips, of which only sometimes a part of that clip will need reframing.
How will I do that with FrameFlex?”
The only way to utilize FrameFlex is to keep the footage at the same frame size. So you need to transcode to an offline, 4K codec. DNxHR LB
Shane
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You just simply cut it into a 23.98 sequence. It won’t play slow motion unless you go into the clip settings to tell it to.
[Jonathan Buck] “but I want to ensure there are no dropped frames.”
Sorry, but it will drop frames. 60fps in 24fps…you are dropping 36 frames per second. NO way around this, unless you modify the clip to play in slow motion, then every frame will be played. There is no way to keep all 60 frames per second when playing 24fps. Frames need to be dropped in order for it to work…no way around that.
[Jonathan Buck] ” Is there an exact percentage that would slow the clip down to ensure it would give me a 1-to-1 frame rate of the clip to play at the timeline rate?”
If you right click on a clip in the bin, and choose MODIFY>INTERPRET FOOTAGE… and then click on ASSUME THIS FRAME RATE, and choose 23.98…then the clip will be slowed down so that all frames play…1:1…and in slow motion. BUT, you said you didn’t want to do slow motion. So, as I said, there’s no way to have all 60fps play in a 23.98 timeline, because by nature, the timeline will only play 24 frames in that second. You can’t get all 60 to play in that sequence…sorry mate.
Shane
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Wait…DNxHR is considered “legacy” by Apple? It’s the current codec Avid offers. DNxHD is also still in heavy rotation. I get losing Sorenson and Cinepack…those are 1990s throwbacks. But DNxHR? Apple trying to make it’s little island further from the mainland?
Created with software? Like…EditReady? Or Avid conversion?
Shane
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Whoever the “archivist” is, isn’t that good at archiving. Those are all HORRIBLE formats…not one is a “mastering” format. High Res H.264…OK, that sounds the best, hope it is. But good lord, so many of those other options…”Real media,” “OGG Video?” CINEPACK? It’s like they are living in the 1990s.
Shane
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[Nina Lucia] “I’ve got some footage that has 14 cameras with 5 of them starting and stopping throughout the long (1hr+) clip. Can Avid now group these in leaving black between the camera start/stops? I haven’t been able to get it done properly but someone is saying they are certain there’s a way to do it.”
You’ll have to build a sync map, but then yes, you can make a multiclip from that sequence….in the 2018.12 update due out December 31. You can also add angles you accidentally left out.
Shane
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