Shane Ross
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And the video card is underpowered…4GB RAM on that at least, if not more. And one that leverages CUDA or Open CL.
Shane
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QT tends to adjust the colors for some reason. QT 7 had a setting to “match FCP 7 color” or something like that. But no, it’s not accurate…nor is QTX. They adjust the image.
As for Vimeo…watch the same video on Vimeo on Chrome, and Safari, and Firefox…you’ll note that even with those players…the same video will look different. Because of their inner workings and how it plays back. We in TV land have the same issues. How COX compresses it for delivery differs from how Spectrum does, and how Comcast does. So what I see in LA will look different in NY. And then my TV looks different than my producers TV and my parents TV.
These are all external things that we cannot control. The only thing we can control is how we view the image we are correcting…making sure it’s on a color calibrated monitor and that on that, It looks right and good. Anything that happens after that…out of our hands.
Shane
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It’ll work fine. We have dozens of iMacs running Avid in our office, mainly for the story producers or as transcode stations…assistant stations. Works fine.
Shane
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Where did these files come from? How were they created? You use the SOURCE BROWSER to import footage from camera offloads, or Quicktime files…and there are some camera formats that are MXF. BUT, because you say these are DNxHD36 MXF…that would suggest they were files created by Resolve or similar…and created directly as Avid media.
In that case, you need to put them into the existing Avid file structure. On the media drive, locate the Avid Mediafiles folder…open that, then open MXF…and then create a new folder with a new number…like “10.” Drop all of the files into that. Then open Avid….it will scan that folder automatically and create database files. Now, create a new bin…and then open that “10” folder and locate the .mdb file. Drag that file into the new bin and it will populate with all the clips.
Shane
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[wesley post] ” Wouldn’t that be a loss of quality, though?”
No. ProRes maintains all the quality. I mean, sure, you are transcoding, but I dare you to tell the difference. And now the footage will be 10-bit, opposed to 8-bit, so grading will make it band less
Shane
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Alas, no. The highest OS you can run with that version of Avid to keep things working is 10.9.5.
Always check the Version matrix
Shane
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What computer are you running? And how are you connecting the camera to the computer? What, if any, adapters are you using? That might interfere. Also, and OS after the one FCP 7 was last officially supported on (10.6.8) risks parts of the application not working properly. So, sure, you can edit and do lots of things, but perhaps capture no longer functions properly. Just a thought…it’s a possibiliyt
Shane
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Well, first off, Avid’s color correction tools are severely outdated, and really not good for much more than subtle tweaks. Anything major and you risk grain and banding. It’s not nearly as good as Resolve is. Even Symphony addon isn’t all that great anymore. It adds more tools to make it quicker, and a bit better, but still not up to Resolve snuff.
Second, you cannot judge the quality of your color grade in Avid’s interface. It’s not accurate at all. You need an IO box and broadcast monitor or good HDTV in order to see what it really looks like. Avid’s interface is brighter than normal…really only meant to be used to see what you are doing when editing. Computer displays themselves aren’t good, and most NLE’s like Avid aren’t designed to show you an accurate image for grading.
Shane
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FCP 7 won’t work with that codec, won’t even import it. Nor will MPEG Streamclip convert it, its development has been discontinued. You’ll need something like EDITREADY to convert it to ProRes first, then you should be golden.
Shane
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[Dan Powers] “There is no monitor “designed” for interlace except for my tube monitor (built in the 80’s which has been deep in storage for the last 10 years. “
Nope. Current TVs all display interlacing, because most networks broadcast interlaced. Even if I deliver a 23.98 master, they make a 1080i59.94 broadcast master from that. Most sports are broadcast interlaced, news, soap operas…all interlaced. So current TVs need to work with that, and display it properly. Many networks now want 1080p29.97 because they have a major web streaming presence and want it to look good there as well. But satellite, over the air, and cable is still delivered 1080i59.94.
Broadcast monitors, even LCD and OLED ones are designed to display interlacing. Mine does.
[Dan Powers] “Also, I have been delivering progressive 2997 (1080p) footage to broadcast outlets for many years and it looks stellar.”
Not saying it doesn’t. I have done this too. Just saying that 23.98p to 29.97p will have a repeated frame…well, 6 repeated frames every second. So it’ll have a slight stutter to it. 23.98 to 59.94i (29.97i) will have the extra frames distributed in the fields of the video, so they WON’T repeat, so they will look smoother. And not soap opera like, because they were originally 23.98. the only footage that will look like sports or soap operas are those shot and delivered 59.94i.
[Dan Powers] “I will challenge anyone to get a nice clean graphic file rendered out interlaced and find a way for it to look good on a monitor (TV) without it looking half resolution. Disclaimers are nearly illegible. “
I have this done all the time, and they look fine on my broadcast monitor, and my HDTV. Because both can display interlacing. Now, I looked up the Eizo, and it looks impressive, but not sure if it handles interlacing. Can you see both fields when you pause on interlaced video? that sort of jittery look on the single paused frame? If not, then it doesn’t do interlacing.
Shane
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