Shane Ross
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[Duke Sweden] ” I was able to record in ProRes 4:4:4 and work with those files on my old, woefully underpowered PC. I just couldn’t export in ProRes. Is that what you meant?”
The Ninja is a device that’s cleared to record ProRes. Windows machines cannot encode nor capture to ProRes, as Apple hasn’t given them license to. If you get my meaning.
[Duke Sweden] ” I did find a program called something like Mirabel ProRes for Windows, which as you point out, was nothing like real ProRes.”
Yup…and that will make a file that won’t pass QC
Shane
Little Frog Post
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Capturing from tape to ProRes would mean having the ability to ENCODE to ProRes, and Windows machines don’t have the ability to encode to ProRes. No matter what version of Resolve you have, this is true.
Well, you CAN encode to ProRes, with some third party apps, but they aren’t licensed to do so, and the encoder doesn’t quite encode ProRes properly. If QC looks at it, it’ll kick it. But these apps won’t aid Resolve in capturing and encoding to ProRes.
Total stinker, as many many clients want ProRes, and that means double encoding on a Windows system.
Shane
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[matt chapman] “Now, does anyone know how to easily handle cell phone (1080 x 1920) footage. When I transcoded it to MXF through AVID, it all stretched. “
Make a project with the dimensions of the phone video. AMA link and then transcode in that project. Then bring the bin into the other project. Dimensions should be maintained.
Shane
Little Frog Post
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Avid PREFERS it be transcoded, yes. Might I ask why you are using Avid for this if you have Premiere Pro and know how to use Premiere pro?
Shane
Little Frog Post
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OK, I made a test project and I have a LOT more options than that. I have HDxHR LB, DNxHR SQ, DNxHR HQ, DNxHR HQX, and four ProRes flavors…in fact, ProRes 4444 isn’t even offered. None of the options in your list are. And I set it up the same way…so that is odd. There must be a setting somewhere causing that.
You Transcode to MXF in order to make editing go smoother. H.264 native editing might be OK for smaller projects, but even then, that format needs to be decoded on the fly, and that causes the system to slow down. You can try that, but if you get frustrated with responsiveness, then transcoding is your best option.
Cell Phone footage…well, create a project matching those dimensions…9:16….1080×1920 or whatever…link to the footage in that project and transcode. Or, simply link to the footage in this project and don’t transcode. Frame Flex will allow some resizing. Note that anything more that 25% will degrade the image.
Why convert with Media Encoder? What would you convert to? You’d have to convert to ProRes or DNxHD in order to avoid the sluggishness, but that will be the same file sizes as compared to doing it inside Avid….not going to gain anything using that.
Shane
Little Frog Post
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“How do you mean that the codecs available are based on my project settings?”
Meaning if you use an HD project setting, say 1080p or 720p…the codecs are like DNxHD, ProRes, 1:1 Uncompressed. If you use an above HD format, like 2K and 4K, you get DNxHR (and some ProRes as well). If your color space wasn’t Rec709, but RGB, then you’d have a very small, but very high end list of codecs available. You are in 2K, so you have DNxHR and ProRes and some uncompressed options.
As for converting/transcoding the footage…unlike Premiere Pro, that leverages many resources to enable smooth playback of highly compressed footage like H.264, Avid doesn’t do that. Sure, you can play it back, but your system might bog-down eventually, become slow to respond. Converting to a DNxHD format that’s doesn’t need to be decoded on the fly (like H.264 does) will mean an easier editing experience. Yes, the trade off is larger file sizes.
Now, why are you using a 2K project setting if you are cutting with YouTube as your source? is your deliverable 2K?
Shane
Little Frog Post
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In the MC 2018 versions…and later MC 8.x versions….it’s now called SOURCE BROWSER. So FILE>INPUT>Source Browser. Then navigate to your media. This will LINK to it. Then you can transcode for a smoother editing experience to DNxHR or DNxHD. What codecs are available are based on the project settings. You choose.
Shane
Little Frog Post
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Ok, so over there you don’t have it called 1080i50…it’s called 1080i25? I hope I’m getting that right. Because here, it’s 1080i60 at 29.97 and it causes confusion.
As we have now. Sorry that I messedup.
Shane
Little Frog Post
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No, the number indicates the number of IMAGES per second. 60i…60 images in an interlaced stream, so there are two images per frame, one for each field…30fps. 50i…interlaced, each field a different image, two per frame…25fps.
https://walterbiscardi.com/1080i-60-is-not-60fps-repeat-after-me/
Bouke…shoot 1080i50. Look at the frame numbers on the timecode…does it go up to 50? Or go up to 24 and then 00? I’ll bet you it goes to 24, then 00. Then shoot 1080p50…look at the numbers. They will go up to 49, then 00. 1080i50 runs at 25fps….interlaced. 1080p25 runs at 25fps…progressive.
Shane
Little Frog Post
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FCP 7 was designed to work with broadcast standard formats. 640×360, even as ProRes LT…does not fit any broadcast standard. Your best option would be to convert that to 720×480 DV…or 720×486 ProRes.
Yeah, you are working with a web sized video in an edit app not designed for cutting web sized video…
Shane
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