Friday, May 26, 2017

Re: [Avid-L2] Level Scaling in Adobe Media Encoder from Avid QT Ref .movs?

 

My reason to suggest AE was NOT for the pulldown, but for the color levels, as AE can output proper levels so it seems…

(I take it that's your biggest beef now…)

FFmpeg is open source, and I highly doubt Adobe uses it. (But perhaps some libs that are used are shared…)
That does not matter though, if it works, it works…

Biggest problem with FFmpeg is not the command line you have to write, but to first parse the input files to determine what has to be done.
Input files can be 'everything'.
If the sources are always the same, it's relative simple. But if not…

Then, FFmpeg does not like QT ref, so when I should make a front end, there WILL be a first step where QuickTime is involved to create a self-contained copy first.
(That would be the same as if you open a QT ref in QT player 7 and save it as self contained. No render, just copy.)

Bouke

Edit 'B / VideoToolShed.com
van Oldenbarneveltstraat 33
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On 26 May 2017, at 19:13, bigfish@pacbell.net [Avid-L2] <Avid-L2@yahoogroups.com> wrote:

Advanced Pull Down was 2:3:3:2.  AME generates consisten 3:2:3:2:3:2.  It's just backwards from 2:3.  IIRC early on back it my days at UCLA our film chain generated 3:2 and that was the norm back then.  Am I mis remembering this?  

Visually there is no issue and the networks have no problem as long as the first frame is a full frame.

I could use AE but am less proficient in it but that would be a solution to consider if I ever have a complaint about 3:2.  I just don't know why AME does it that way when the current standard is 2:3.  But this isn't always the standard as I've had to use 2:2:2:4 for some networks because they don't want any split fields because it creates issues for their streaming content.  I was told by a network that they know they are adding more judder to the broadcast content but the ability to stream it was more important to them.

I have only dabbled in researching FFmpeg and found the command line coding/programming/scripting a bit daunting.  I only dealt with some command lines back in my RT11 days with CMXj etc...  If I was more versed in the syntax of FFmpeg I'm sure it could work well. Are programs like Adobe Media Encoder using FFmpeg under the hood or do they have their own code to do the encoding?



---In Avid-L2@yahoogroups.com, <bouke@...> wrote :

Hi John,
Two points:
there is a huge difference between 2:3 and 3:2. 3:2 is 'advanced pulldown' and intended for production use only, from the era where devices (read: video tape) could not capture at another speed than 29.97. It 'should' be less prettier to look at, but is easier to remove as you can just kick out the added frames, while 2:3 requires a render.

And yes, FFmpeg can add pulldown, both flavours.

But if you don't want to use FFmpeg, and AME is giving you this trouble, can't you use AE as an inbetween (Setup for rec 709) to feed AME?
That should do the trick. (But is a stupid hack of course…)

Bouke

Edit 'B / VideoToolShed.com
van Oldenbarneveltstraat 33
6512 AS  Nijmegen
+31 6 21817248

On 25 May 2017, at 17:15, bigfish@... [Avid-L2] <Avid-L2@yahoogroups.com> wrote:

The network delivery spec is a .mov native frame rate of 23_976 in the XDCam50 Codec with 10 channels of audio.  Last season it was a 59.94 .mov in the XDCam50 Codec with 16 channels so Adobe Media Encoder added the pull down.  For reasons unknown to me AME adds pull down as 3:2 not the more traditional 2:3.  Visually no difference and the network never complained.

I have used Avid to export out directly to .mxf on shows with 8 channels of audio for other networks but the need for the "custom" QT is why I use AME.  I assume Sorenson could do it too but given Adobe's presence I have decided to get more familiar with it.

I wish I had the experience with FFmpeg but I've never ventured into much command line work.  Does FFmpeg allow for addition of pull down in varying flavors like 2:3 or 2:2:2:4?



---In Avid-L2@yahoogroups.com, <bouke@...> wrote :

Hi John,

In that case, technically it's not XDcam anymore, but the video codec with custom audio.
Are you talking MpegII ? (The 50 suggests that, as in Mbit/s)
In that case, FFmpeg could do both H264 and the MpegII / custom audio, in one pass if needed.

I can't be of help with AME, as I know little about it, I always use FFmpeg for this kind of stuff.
I could however write you a custom FFmpeg based app. that spits out what's needed in the bg, perhaps with a watch folder or something.


Bouke

Edit 'B / VideoToolShed.com
van Oldenbarneveltstraat 33
6512 AS  Nijmegen
+31 6 21817248

On 22 May 2017, at 19:06, bigfish@... [Avid-L2] <Avid-L2@yahoogroups.com> wrote:

Oh and I forgot I'm on MC 6.5.4.7 for compatibility reasons with offline.  The custom exports yield interleaved audio and not discrete tracks.  I could use your audio map app but this avoids needing to do that.



---In Avid-L2@yahoogroups.com, <bigfish@...> wrote :

I do this because it frees up the Avid to continue working for starters.  Also most people are of the opinion anything other than same as source exports from Avid are not reliable because it involves the QT engine which can have it's own issues.  I'm working in DNX_175X in the timeline so I would have to use a custom export to QT to make an XDCam50.  Also I have to deliver a 10 channel .mov in XDCam50 so the Avid straight to XDCam50 export that creates a .mxf isn't viable plus it is limited to 8 channels of audio.  Is there an export option I'm missing?

All this also avoids the need for endless mixdowns especially when I have to add pull down.  I am not versed in FF mpeg but have become somewhat comfortable with Adobe Media Encoder so I go with what I know.  Adobe Media Encoder does support parallel encoding so I can have both XDCam50 and H_264 going at the same time although in practice I usually do them in sequence so I get the XDCam 50 sooner.

I could probably use Sorenson instead of AME but I've spent more time with AME lately and find it adequate for the work.  




---In Avid-L2@yahoogroups.com, <bouke@...> wrote :

On 19 May 2017, at 23:52, John Moore bigfish@... [Avid-L2] <Avid-L2@yahoogroups.com> wrote:
If I use Adobe Media Encoder to bake XDCam50, H264 or ProRes files from an Avid

Why would you do that?
Avid can do perfectly good XDcam50, and FFmpeg can do perfectly good H264
And the beauty is, you can start the H264 encoding the moment Avid starts spitting out the XDcam, so they end up being ready at about the same time.


Bouke

Edit 'B / VideoToolShed.com
van Oldenbarneveltstraat 33
6512 AS  Nijmegen
+31 6 21817248






__._,_.___

Posted by: Bouke <bouke@editb.nl>
Reply via web post Reply to sender Reply to group Start a New Topic Messages in this topic (13)

Have you tried the highest rated email app?
With 4.5 stars in iTunes, the Yahoo Mail app is the highest rated email app on the market. What are you waiting for? Now you can access all your inboxes (Gmail, Outlook, AOL and more) in one place. Never delete an email again with 1000GB of free cloud storage.

this is the Avid-L2

.

__,_._,___

[Avid-L2] Re: UHD Evaluation / Color Correction Monitor???

 

Here's perhaps a better link:

http://www.bestbuy.com/site/lg-55-class-54-6-diag--oled-2160p-smart-4k-ultra-hd-tv-with-high-dynamic-range-silver/5252800.p?skuId=5252800



---In Avid-L2@yahoogroups.com, <bigfish@...> wrote :

Here's what I went with as it matched what the QC house was using to find ridiculous pixel that were stuck etc...  You can jack the black way up and see things no human would.  I still use an HD reference monitor and scope watching the downconvert for color correction as nobody is rushing to buy me a 20K Tektronix Scope.  I'm thinking perhaps I should start a KickStarter campaign for my 4K needs.  But we'd be at 8K by the time I raised enough money.

My 4K work has all been to Rec 709 so far.  The newer Sony PVM HD monitors were said to be capable of Rec 2020 and I think the P3 standard IIRC.  It was coming in a future software upgrade so that might be a way to get an HD monitor that handled those color spaces and use the LG OLED consumer monitor for Clients and 4K pixel hunts.

I love my Tektronix 7020 scope and would love to get the 4K equivalent for 4K but so far even the stripped down versions are out of my price range.  Sadly it's hard to convince bean counters of the need for this equipment but with Netflix QC so diligent I really think I'd like to level the playing field with a nice scope.  Fortunately my issue in 4K are more related to pixel errors and not video levels.

Here's what was suggested to me and I went for it at about $1,800

LG - 55" Class - (54.6" Diag.) - OLED - 2160p - Smart - 4K Ultra HD TV - with High Dynamic Range - Silver

__._,_.___

Posted by: bigfish@pacbell.net
Reply via web post Reply to sender Reply to group Start a New Topic Messages in this topic (5)

Have you tried the highest rated email app?
With 4.5 stars in iTunes, the Yahoo Mail app is the highest rated email app on the market. What are you waiting for? Now you can access all your inboxes (Gmail, Outlook, AOL and more) in one place. Never delete an email again with 1000GB of free cloud storage.

this is the Avid-L2

.

__,_._,___

[Avid-L2] Re: UHD Evaluation / Color Correction Monitor???

 

Here's what I went with as it matched what the QC house was using to find ridiculous pixel that were stuck etc...  You can jack the black way up and see things no human would.  I still use an HD reference monitor and scope watching the downconvert for color correction as nobody is rushing to buy me a 20K Tektronix Scope.  I'm thinking perhaps I should start a KickStarter campaign for my 4K needs.  But we'd be at 8K by the time I raised enough money.

My 4K work has all been to Rec 709 so far.  The newer Sony PVM HD monitors were said to be capable of Rec 2020 and I think the P3 standard IIRC.  It was coming in a future software upgrade so that might be a way to get an HD monitor that handled those color spaces and use the LG OLED consumer monitor for Clients and 4K pixel hunts.

I love my Tektronix 7020 scope and would love to get the 4K equivalent for 4K but so far even the stripped down versions are out of my price range.  Sadly it's hard to convince bean counters of the need for this equipment but with Netflix QC so diligent I really think I'd like to level the playing field with a nice scope.  Fortunately my issue in 4K are more related to pixel errors and not video levels.

Here's what was suggested to me and I went for it at about $1,800

LG - 55" Class - (54.6" Diag.) - OLED - 2160p - Smart - 4K Ultra HD TV - with High Dynamic Range - Silver

__._,_.___

Posted by: bigfish@pacbell.net
Reply via web post Reply to sender Reply to group Start a New Topic Messages in this topic (4)

Have you tried the highest rated email app?
With 4.5 stars in iTunes, the Yahoo Mail app is the highest rated email app on the market. What are you waiting for? Now you can access all your inboxes (Gmail, Outlook, AOL and more) in one place. Never delete an email again with 1000GB of free cloud storage.

this is the Avid-L2

.

__,_._,___

Re: [Avid-L2] Level Scaling in Adobe Media Encoder from Avid QT Ref .movs?

 

Advanced Pull Down was 2:3:3:2.  AME generates consisten 3:2:3:2:3:2.  It's just backwards from 2:3.  IIRC early on back it my days at UCLA our film chain generated 3:2 and that was the norm back then.  Am I mis remembering this? 

Visually there is no issue and the networks have no problem as long as the first frame is a full frame.

I could use AE but am less proficient in it but that would be a solution to consider if I ever have a complaint about 3:2.  I just don't know why AME does it that way when the current standard is 2:3.  But this isn't always the standard as I've had to use 2:2:2:4 for some networks because they don't want any split fields because it creates issues for their streaming content.  I was told by a network that they know they are adding more judder to the broadcast content but the ability to stream it was more important to them.

I have only dabbled in researching FFmpeg and found the command line coding/programming/scripting a bit daunting.  I only dealt with some command lines back in my RT11 days with CMXj etc...  If I was more versed in the syntax of FFmpeg I'm sure it could work well. Are programs like Adobe Media Encoder using FFmpeg under the hood or do they have their own code to do the encoding?



---In Avid-L2@yahoogroups.com, <bouke@...> wrote :

Hi John,
Two points:
there is a huge difference between 2:3 and 3:2. 3:2 is 'advanced pulldown' and intended for production use only, from the era where devices (read: video tape) could not capture at another speed than 29.97. It 'should' be less prettier to look at, but is easier to remove as you can just kick out the added frames, while 2:3 requires a render.

And yes, FFmpeg can add pulldown, both flavours.

But if you don't want to use FFmpeg, and AME is giving you this trouble, can't you use AE as an inbetween (Setup for rec 709) to feed AME?
That should do the trick. (But is a stupid hack of course…)

Bouke

Edit 'B / VideoToolShed.com
van Oldenbarneveltstraat 33
6512 AS  Nijmegen
+31 6 21817248

On 25 May 2017, at 17:15, bigfish@... [Avid-L2] <Avid-L2@yahoogroups.com> wrote:

The network delivery spec is a .mov native frame rate of 23_976 in the XDCam50 Codec with 10 channels of audio.  Last season it was a 59.94 .mov in the XDCam50 Codec with 16 channels so Adobe Media Encoder added the pull down.  For reasons unknown to me AME adds pull down as 3:2 not the more traditional 2:3.  Visually no difference and the network never complained.

I have used Avid to export out directly to .mxf on shows with 8 channels of audio for other networks but the need for the "custom" QT is why I use AME.  I assume Sorenson could do it too but given Adobe's presence I have decided to get more familiar with it.

I wish I had the experience with FFmpeg but I've never ventured into much command line work.  Does FFmpeg allow for addition of pull down in varying flavors like 2:3 or 2:2:2:4?



---In Avid-L2@yahoogroups.com, <bouke@...> wrote :

Hi John,

In that case, technically it's not XDcam anymore, but the video codec with custom audio.
Are you talking MpegII ? (The 50 suggests that, as in Mbit/s)
In that case, FFmpeg could do both H264 and the MpegII / custom audio, in one pass if needed.

I can't be of help with AME, as I know little about it, I always use FFmpeg for this kind of stuff.
I could however write you a custom FFmpeg based app. that spits out what's needed in the bg, perhaps with a watch folder or something.


Bouke

Edit 'B / VideoToolShed.com
van Oldenbarneveltstraat 33
6512 AS  Nijmegen
+31 6 21817248

On 22 May 2017, at 19:06, bigfish@... [Avid-L2] <Avid-L2@yahoogroups.com> wrote:

Oh and I forgot I'm on MC 6.5.4.7 for compatibility reasons with offline.  The custom exports yield interleaved audio and not discrete tracks.  I could use your audio map app but this avoids needing to do that.



---In Avid-L2@yahoogroups.com, <bigfish@...> wrote :

I do this because it frees up the Avid to continue working for starters.  Also most people are of the opinion anything other than same as source exports from Avid are not reliable because it involves the QT engine which can have it's own issues.  I'm working in DNX_175X in the timeline so I would have to use a custom export to QT to make an XDCam50.  Also I have to deliver a 10 channel .mov in XDCam50 so the Avid straight to XDCam50 export that creates a .mxf isn't viable plus it is limited to 8 channels of audio.  Is there an export option I'm missing?

All this also avoids the need for endless mixdowns especially when I have to add pull down.  I am not versed in FF mpeg but have become somewhat comfortable with Adobe Media Encoder so I go with what I know.  Adobe Media Encoder does support parallel encoding so I can have both XDCam50 and H_264 going at the same time although in practice I usually do them in sequence so I get the XDCam 50 sooner.

I could probably use Sorenson instead of AME but I've spent more time with AME lately and find it adequate for the work.  




---In Avid-L2@yahoogroups.com, <bouke@...> wrote :

On 19 May 2017, at 23:52, John Moore bigfish@... [Avid-L2] <Avid-L2@yahoogroups.com> wrote:

If I use Adobe Media Encoder to bake XDCam50, H264 or ProRes files from an Avid

Why would you do that?
Avid can do perfectly good XDcam50, and FFmpeg can do perfectly good H264
And the beauty is, you can start the H264 encoding the moment Avid starts spitting out the XDcam, so they end up being ready at about the same time.


Bouke

Edit 'B / VideoToolShed.com
van Oldenbarneveltstraat 33
6512 AS  Nijmegen
+31 6 21817248




__._,_.___

Posted by: bigfish@pacbell.net
Reply via web post Reply to sender Reply to group Start a New Topic Messages in this topic (12)

Have you tried the highest rated email app?
With 4.5 stars in iTunes, the Yahoo Mail app is the highest rated email app on the market. What are you waiting for? Now you can access all your inboxes (Gmail, Outlook, AOL and more) in one place. Never delete an email again with 1000GB of free cloud storage.

this is the Avid-L2

.

__,_._,___

Re: [Avid-L2] Level Scaling in Adobe Media Encoder from Avid QT Ref .movs?

 

No - that's not what John is talking about. He's just saying Adobe starts its 2:3 pulldown in a different place, such that the first thing that happens is three fields, then two, then so on. It's still 2:3 pulldown and still just fine.

On Fri, May 26, 2017 at 4:35 AM, Bouke bouke@editb.nl [Avid-L2] <Avid-L2@yahoogroups.com> wrote:
 

Hi John,

Two points:
there is a huge difference between 2:3 and 3:2. 3:2 is 'advanced pulldown' and intended for production use only, from the era where devices (read: video tape) could not capture at another speed than 29.97. It 'should' be less prettier to look at, but is easier to remove as you can just kick out the added frames, while 2:3 requires a render.

And yes, FFmpeg can add pulldown, both flavours.

But if you don't want to use FFmpeg, and AME is giving you this trouble, can't you use AE as an inbetween (Setup for rec 709) to feed AME?
That should do the trick. (But is a stupid hack of course…)

Bouke

Edit 'B / VideoToolShed.com
van Oldenbarneveltstraat 33
6512 AS  Nijmegen
+31 6 21817248

On 25 May 2017, at 17:15, bigfish@pacbell.net [Avid-L2] <Avid-L2@yahoogroups.com> wrote:

The network delivery spec is a .mov native frame rate of 23_976 in the XDCam50 Codec with 10 channels of audio.  Last season it was a 59.94 .mov in the XDCam50 Codec with 16 channels so Adobe Media Encoder added the pull down.  For reasons unknown to me AME adds pull down as 3:2 not the more traditional 2:3.  Visually no difference and the network never complained.

I have used Avid to export out directly to .mxf on shows with 8 channels of audio for other networks but the need for the "custom" QT is why I use AME.  I assume Sorenson could do it too but given Adobe's presence I have decided to get more familiar with it.

I wish I had the experience with FFmpeg but I've never ventured into much command line work.  Does FFmpeg allow for addition of pull down in varying flavors like 2:3 or 2:2:2:4?



---In Avid-L2@yahoogroups.com, <bouke@...> wrote :

Hi John,

In that case, technically it's not XDcam anymore, but the video codec with custom audio.
Are you talking MpegII ? (The 50 suggests that, as in Mbit/s)
In that case, FFmpeg could do both H264 and the MpegII / custom audio, in one pass if needed.

I can't be of help with AME, as I know little about it, I always use FFmpeg for this kind of stuff.
I could however write you a custom FFmpeg based app. that spits out what's needed in the bg, perhaps with a watch folder or something.


Bouke

Edit 'B / VideoToolShed.com
van Oldenbarneveltstraat 33
6512 AS  Nijmegen
+31 6 21817248

On 22 May 2017, at 19:06, bigfish@... [Avid-L2] <Avid-L2@yahoogroups.com> wrote:

Oh and I forgot I'm on MC 6.5.4.7 for compatibility reasons with offline.  The custom exports yield interleaved audio and not discrete tracks.  I could use your audio map app but this avoids needing to do that.



---In Avid-L2@yahoogroups.com, <bigfish@...> wrote :

I do this because it frees up the Avid to continue working for starters.  Also most people are of the opinion anything other than same as source exports from Avid are not reliable because it involves the QT engine which can have it's own issues.  I'm working in DNX_175X in the timeline so I would have to use a custom export to QT to make an XDCam50.  Also I have to deliver a 10 channel .mov in XDCam50 so the Avid straight to XDCam50 export that creates a .mxf isn't viable plus it is limited to 8 channels of audio.  Is there an export option I'm missing?

All this also avoids the need for endless mixdowns especially when I have to add pull down.  I am not versed in FF mpeg but have become somewhat comfortable with Adobe Media Encoder so I go with what I know.  Adobe Media Encoder does support parallel encoding so I can have both XDCam50 and H_264 going at the same time although in practice I usually do them in sequence so I get the XDCam 50 sooner.

I could probably use Sorenson instead of AME but I've spent more time with AME lately and find it adequate for the work.  




---In Avid-L2@yahoogroups.com, <bouke@...> wrote :

On 19 May 2017, at 23:52, John Moore bigfish@... [Avid-L2] <Avid-L2@yahoogroups.com> wrote:

If I use Adobe Media Encoder to bake XDCam50, H264 or ProRes files from an Avid

Why would you do that?
Avid can do perfectly good XDcam50, and FFmpeg can do perfectly good H264
And the beauty is, you can start the H264 encoding the moment Avid starts spitting out the XDcam, so they end up being ready at about the same time.


Bouke

Edit 'B / VideoToolShed.com
van Oldenbarneveltstraat 33
6512 AS  Nijmegen
+31 6 21817248





__._,_.___

Posted by: Mark Spano <cutandcover@gmail.com>
Reply via web post Reply to sender Reply to group Start a New Topic Messages in this topic (11)

Have you tried the highest rated email app?
With 4.5 stars in iTunes, the Yahoo Mail app is the highest rated email app on the market. What are you waiting for? Now you can access all your inboxes (Gmail, Outlook, AOL and more) in one place. Never delete an email again with 1000GB of free cloud storage.

this is the Avid-L2

.

__,_._,___

[Avid-L2] Re: UHD Evaluation / Color Correction Monitor???

 

This is one of the Groundhog Day conversations for all of us in post.  We've been looking for a long time and eventually did a shootout between the Canon and the Sony.  We eventually settled on the Sony BVM-X300 for a variety of reasons.  Mostly, it's blacks were more convincing and the colors in it's mid-range were more accurate.   Client monitoring is another whole bag of worms that we don't pretend to have solved.  Our search through NAB showed that several QC scopes were more than capable.  Leaning heavily towards the Omnitek Ultra XR as it seems to do everything we need at a slightly lower price point than the others.

 

tim

__._,_.___

Posted by: Tim Mangini <tim_mangini@wgbh.org>
Reply via web post Reply to sender Reply to group Start a New Topic Messages in this topic (3)

Have you tried the highest rated email app?
With 4.5 stars in iTunes, the Yahoo Mail app is the highest rated email app on the market. What are you waiting for? Now you can access all your inboxes (Gmail, Outlook, AOL and more) in one place. Never delete an email again with 1000GB of free cloud storage.

this is the Avid-L2

.

__,_._,___