Shane Ross
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[Oliver Peters] ” I would point out that there was an SD i/o product that converted to DV. That’s the Canopus ADVC-110, which would take in and/or put out composite SD, s-video and DV.”
I believe this is something in which Andy is very aware of, as he has one and talks about it a lot…even has videos about it.
Shane
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[Ryan Dundas] “I have read and been told that you can organize the mxf files manually by changing the 1 folder to another number, but I guess when using a shared storage system this is not possible?”
Correct, when it comes to Avid style shared storage set up for shared projects, you can’t do that. Need to let Avid organize the media in the folders and you need to do all the file moving inside Avid
Shane
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[Ryan Dundas] “So when I transcode media on the computer named Avid1, it ends up in the Avid MediaFiles>MXF>Avid1.1 folder. I then move it to the new folder I created named 101, which I will do for all the media for the episode # 101 project.”
Ahhh…yeah, you can’t do that. WHen it comes to UNITY or ISIS (nexis)…numbered folders inside the MXF folder won’t be seen by Avid. They need to be named after the Avid station that made them, or have an Avid station name. From what i can tell on my system. Even the drive that contains our MUSIC and SFX aren’t in numbered folders, but the folders of the edit stations.
You really can’t organize things on the finder level when dealing with ISIS or UNITY or NEXIS…
Shane
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TV is still aired at 1080i29.97. Even if you deliver a 23.98 master, they convert to 1080i29.97 for air. There are only a handful of networks that air progressive…FOX, ESPN, ABC. And those air 720p60. The rest are 1080i 29.97, with a couple that are 4K.
So, if you have 29.97 interlaced source, it’s best to use a 1080i29.97 (1080i59.94, really) sequence. If you put interlaced footage into a progressive sequence and that is converted to interlaced…it’ll be poo.
Nice to have the opinion that things should be progressive, but that’s not the reality. I too prefer progressive, but networks want 29.97i…and I still work with 29.97i material (archival docs).
Shane
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Footage compressed for the web isn’t really suited for editing. You need to convert it to an editable format first. ProRes, DNxHD. And apparently not with Resolve, as we see it can’t handle it.
Shane
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EditReady doesn’t CONFORM frame rates…meaning doesn’t convert all 24 frames to 25 frames…speeding it up slightly. Or 60 frames to 24 for super slow motion. It can convert, but not conform
Shane
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[J.Patrick Southern] “For upscaling footage downloaded from a resource like AP, Conus, Getty, or Critical Past, software solutions probably fare best.”
I have been finding that trying to convert file based interlaced sources to Progressive via Terranex was iffy. AJA was spotty as well. For those I do use software solutions like AE or just let Resolve do the scaling…which would come right from the FCP-X cut where the scaling was done before. Interlacing is a delicate beast to deal with, for sure.
Shane
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[Jeff Markgraf] “The very small percentage of users who need tape capture or output will use one of the several third party capture utilities available. The vast majority of users will wonder what the controversy is all about — in the unlikely event they think about at all.”
I agree…this feature really isn’t needed in FCX as easily 99% of the users won’t need tape capture. I only brought this up as it was mentioned that on an archival doc, tests were done comparing directly capturing archival footage into FCX and upscaling vs using a Terranex. And I simply asked if there was a recent update that allowed direct capture of non-DV/HDV footage into FCX. If there was, I was surprised, as it would be a very un-Apple thing to do. It was just a curious question, but one that got blown out of proportion.
Although it did bring up the debate about what is best, software or hardware scaling…and many do have curiosity about that, so I’ll have to do some tests, and provide video files to people of the results.
Shane
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Thank you Jeff, I figured the only tape capture options in FCX were DV and HDV (DV50…firewire based capture). Bill just mentioned that the producer and AE on this OJ doc tested direct capture into FCX and upscaling and compared that with a Terranex upconvert and found no noticeable difference. I wondered what was meant by “direct capture into FCX” of archival materials…tapes…entailed. Did they say what they used and how they did it?
I am fully willing to test capturing a tape as DV via routing through a deck, and then SD with a Capture DEVICE as ProRes 422 (even HQ if you want)…VHS as well as betaSP…and then upconvert via Terranex and AJA. And compare the scaling ability of FCX vs what AJA and Terranex can do. And even push it to 4K as that is part of the current deliverable for the LOST TAPES series. (there is only software scaling to 4K available, hardware upconvert to 4K doesn’t exist yet).
Shane
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That device:
“The Video Recorder USB Capture Device (Mac OS-X only) from Blackmagic Design is a compact video capture device that is designed with ease of use in mind. The device features RCA connectors for component, composite, and S-Video video input, which it uses to capture video directly to the commonly-used H.264 format. ”
So that device captures and compresses to H.264. Something like the BMD Ultrastudio or AJA Io devices don’t…they bring in an uncompressed signal, and then the computer compresses it. To ProRes 422, or HQ…or Uncompressed. For a superior image than that device can provide.
Shane
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