Shane Ross
Forum Replies Created
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[fernando alves] “Which one of the h.264 steup is best to delivery a master in this format? MATCH SOURCE – HIGH BITRATE?”
I would never…and I mean NEVER…deliver an H.264 as a “master” format. Ever. It’s not a mastering format. It’s a delivery format for the internet…and some variants of it are for broadcast. But it’s not a mastering format. ProRes, DNxHD, DNxHR…those are mastering formats.
[fernando alves] “My doubts are about the exports for these platforms (Youtube, Vimeo, Instagram, Facebook, Twitter, Tumblr and now Tik Tok).”
And this is why. Because multiple platforms will require multiple DIFFERENT settings and frame sizes. You’ll take your master and encode separately for whatever platform you are delivering. YouTube, Vimeo, Twitter, and FB allow for 16:9….Instagram, tumblr, and Tiktok do not, for that you’ll need to export square.
[fernando alves] “Should I export large files or small files?”
Large. ProRes…DNxHR. Then compress to suit the platform you are posting to.
[fernando alves] “Nowness has good quality videos at YouTube, Vimeo, Instagram? What is a good compression for these platforms?”
Actually, the best practice for YouTube and Vimeo is to upload a full res ProRes or DNxHD (or HR) and let THEM compress it…because they do anyway. If you make an H.264 master using the YouTube settings in Media Encoder…and upload that…YouTube will compress it again. So now it’s two generations of H.264, and quality will degrade. But a master format like ProRes, which is 10-bit…being encoded to H.264…far better quality.
Shane
Little Frog Post
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Manually lower and raise audio on the timeline. You can keyframe the audio and do a decent mix in Premiere.
Shane
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How “new” is this newer MacPro? Cheese grater? Trash can? Can’t be the new new one, that won’t run FCP 7 at all.
USB 3 will work on both. It’s backwards compatible to USB 1, and will connect to the trash can MacPro…and to the cheese grater (which has USB 2). BUT…I’d only use it to transport the footage. Get it off onto a faster drive on the other end.
Shane
Little Frog Post
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You are right Glenn. The 2017 has a Thunderbolt 2 port (two, actually), so a Mini-Monitor is the perfect solution. TB to the Mini…then HDMI out to the TV.
NOTE!!!
Anytime you have an output device like that connected…be it a Mini monitor or an Avid box (DNxIO or Mojo)…audio gets routed to that box. So if you are monitoring audio from the iMac to a mixer, that will get cut off. You’ll need to either monitor from the TV, or get an HDMI splitter that will do HDMI out and also a separate audio only output… something like this:
https://www.amazon.com/iArkPower-Extractor-Splitter-Optical-Supports/dp/B01I9JG70A
Shane
Little Frog Post
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Avid DOES provide something of quality to it’s users. It’s main focus is on other things…still has roots in features and TV, and needs to meet the needs of the core users. It can’t chase everything. That is why there are choices. You can buy FCX for $300 and never spend another penny on it again, and have access to those plugins, and make this video wall easily. And, if you want to stick with Avid… export that video wall from FCX as a ProRes file, and bring that over to Avid.
There is not one NLE that is everything to everyone.
Shane
Little Frog Post
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Sorry, there is none. Of the plugin packages available to Avid, none do this. And to try to build this in Avid would take…a long time, and would really slow down the system. This task is best handled on another NLE…one better designed for it, or one where that plugin is available for it.
Shane
Little Frog Post
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Well, I use a handful often. I us the Paint Effect for a wide variety of things…Blurs, highlights, light flashes…custom transitions, vignettes (blur and darkened edges or both). I use the Animatte quite frequently. 3D Warp ALL THE TIME. Spectra-matte for green screens. Reformat because I deal with a lot of archival.
But the yes, I do lean on BCC or Sapphire or both for the bulk of the fancy things.
Shane
Little Frog Post
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Hmmm…4:2:0. That sounds like HDV footage. Was this camera master ORIGINAL? Or was this footage that was imported in another app, and then archived? What I mean by that is that Final Cut Pro Legacy (5-7) supported HDV, and would capture it as a QT file. BUT…that QT file was ONLY viewable on computers with FCP installed on it, as the codec it encoded to was FCP ONLY (this was also the case with DVCPRO HD). Found this out when trying to get producers a copy of the footage to preview and give notes. This was also true of HDV and DVCPRO HD codecs that were file based and “logged and transferred.”
So, if this is footage that was captured in FCP 7, for example, you cannot import it into Premiere because the decoder for it only exists with FCP.
That’s just a thought.
Can you open these with VLC player?
Shane
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[Pat Horridge] “If you have a mixed codec timeline and mix down as SAS you will get a file with mixed codes. The metadata of the file will be flagged as the first codec used.”
Are you sure? I didnt’ think that was possible. Videos can be one codec only…from all I know. This goes against what I’m aware of.
Shane
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If you have more than one codec type on the timeline, do a VIDEO MIXDOWN first, and then do an SaS export.
Now, as for the mixed codec thing, no, that’s impossible. You cannot have a video file that has starts as one codec, switches to another, and then another. Things don’t work that way. BUT, not having done an export with multiple types myself (always mixed down), the way to see which one it is, is to re-import that file and see what the information in the bin says.
Shane
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