Walter Biscardi
Forum Replies Created
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[David Roth Weiss] “That part I disagree with… Pro Res 422 is a better codec, it’s high performance (i.e. easily played back), and it’s very high quality. H.264 is a more processor intensive codec. H.264 is great for streaming via the Net because it’s a smaller file size, for for playback off hard drives Pro Res, though larger file size, is still better for seamless playback.”
ProRes is never a good choice for a venue playback unless you are 100% certain there will be a machine capable of playback.
We use our 1920×1200 resolution projector on a monthly basis at events playing off H264 files from my MacBook Air and it looks amazing all the way up to 40 foot projection screens. Have even played back UHD files scaled down to 1920 on play out and they look great.
Honestly no reason for ProRes with the quality of the H264 image. If you want higher quality bump up to 15mbps.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative MediaCraft and Career Advice & Training from real Working Creative Professionals
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First question is the resolution of the ballroom projector. You’d be amazed at how many projectors out there are limited to 1024 or even 900 pixel width so creating 720p or 1080p videos will look terrible on them as they scale them down. So your first call is to the hotel to find out what the resolution of the projector will be.
Then create a file that easily fits into that width without needing to be scaled down.
H264 will be just fine and probably no more than 10mbps will be needed.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative MediaCraft and Career Advice & Training from real Working Creative Professionals
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[jerry wise] “After using CMX then Smoke then Final Cut 7 then Premiere…there is talk here at the station about switching to Avid Media Composer. Would we be gaining or losing in this switch. I’d rather fight than switch.”
So many factors go into something like this. Both Premiere Pro and Avid are absolutely great video editing tools. Each has strengths and each has weaknesses depending on the situation they are used in.
Which to go with is wholly up to you and your team based on your unique situation. In our case, we go all Adobe Premiere Pro because of the flexibility and efficiency of the editing tool and the collaboration between the entire Adobe Suite. We run a fully shared media environment and PPro has no issues working in a shared workflow environment. Depending on the size of your facility, Adobe Anywhere is an option to really enhance the shared workflow.
But you don’t “gain” or “lose” anything switching from one to the other. They’re both good. They’re both going to work in your environment. Which you go with is wholly up to you and your team. As you already have Premiere I guess the question is, “Is there anything compelling in Avid that warrants the switch?” for your specific situation.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative MediaCraft and Career Advice & Training from real Working Creative Professionals
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I’ve never used the Cineform codec so I’m not sure how that will work. We’ve not sent 4k from Window to Resolve yet, we’ve only sent ProRes 4k projects to Resolve from our Macs and had no issues.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative MediaCraft and Career Advice & Training from real Working Creative Professionals
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The latest Avid DNxHR supports 4k but I’m not sure if it’s downloadable as an add-on like DNxHD. Was looking around the Avid site but I don’t see it.
It sounds like the Cineform codec is free and supports 4k. https://helpx.adobe.com/premiere-pro/using/gopro-cineform-codec.html
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative MediaCraft and Career Advice & Training from real Working Creative Professionals
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[Yair Bartal] “Well, if I recall correctly, CC 8.x (=2014.x) doesn’t open CC 7.x, but I may be wrong.”
Never heard that, we haven’t had any sort of issue opening older projects forward. It’s moving newer projects backwards that you can’t do. You have to use XML for that.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative MediaCraft and Career Advice & Training from real Working Creative Professionals
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Yes. Why wouldn’t it?
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative MediaCraft and Career Advice & Training from real Working Creative Professionals
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[Rosie Walunas] “Damn. That’s still too bad. Mostly been working in Avid the last couple years. I find it most helpful, for example, in Avid, if I need to add colors after the fact, like red this means something is wrong with the still or clip and it should not appear in the timeline, or the correct graphic could be colored green and then i can visually see in the timeline if the correct graphic is being used and where. “
Put in a feature request. I’m sure it’s already in the pipeline to make that an option, but definitely put it in the feature request. Adobe has instituted hundreds of changes in just the past three years that I’ve been with the product line all as a direct result of user feedback. They really really listen.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative MediaCraft and Career Advice & Training from real Working Creative Professionals
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Alan as others have noted, definitely raise the lights a touch.
In the future, have the subject tilt their eyeglasses down just a touch. Sometimes you have to put a little piece of tape or paper behind the ears to lift the back of the frames up just a touch. That slight downward angle can buy you a lot of non-reflective room during the shoot. I learned that trick from an amazing DP.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative MediaCraft and Career Advice & Training from real Working Creative Professionals
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[Harry Bromley-Davenport] “Vinay: “Hi Harry, Yes, you can go directly to Yosemite 10.10.2, which seems to be working fine. Also, please do not use time machine for any kind of backup and do a fresh installation of all the applications.”
Me: “I should not use Time Machine to back up my system and applications drive? Wow … ? Huh?”
Vinay: “Yes, if possible avoid it for the system files as it may write the old OS files into new one and which might create issue.””
His advice is spot on. What he’s telling you is to NOT backup and then simply replace your applications back onto the system. You need to do a completely fresh install of everything.
Back up your documents and then re-install all your apps from scratch. That’s very standard operating procedure if you’re having serious issues with your system. Start fresh.
Usually you start by installing all of Creative Cloud and then re-installing one by one. If that doesn’t work, then you wipe the system completely clean and start over with all fresh installs.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative MediaCraft and Career Advice & Training from real Working Creative Professionals