John says:
"Some networks now require 2:2:2:4 pulldown to avoid split frames which mess up the encoding for the streaming side of the network content."
Those networks are stupid. With 2:3 pulldown, you can reverse telecine to recover 24p and your streaming encodes will be many times better looking. I don't know how so-called professionals at these networks don't understand this.
"Some networks now require 2:2:2:4 pulldown to avoid split frames which mess up the encoding for the streaming side of the network content."
Those networks are stupid. With 2:3 pulldown, you can reverse telecine to recover 24p and your streaming encodes will be many times better looking. I don't know how so-called professionals at these networks don't understand this.
On Thu, Aug 10, 2017 at 4:09 AM, 'Job ter Burg (L2B)' Job_L2@terburg.com [Avid-L2] <Avid-L2@yahoogroups.com> wrote:
I had started on a document like that years ago. Never completed it, though, and Avid never followed up on it neither.On 10 aug. 2017, at 07:37, ph@cineaste.org [Avid-L2] <Avid-L2@yahoogroups.com> wrote:
I didn't know about this particular one, only knew about universal mastering - apparently works with the current box, but I have a Nitris DX - and about secondary cc.Now I need to find documentation on the Symphony options...P.
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Posted by: Mark Spano <cutandcover@gmail.com>
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this is the Avid-L2
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