My reason to suggest AE was NOT for the pulldown, but for the color levels, as AE can output proper levels so it seems…
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…)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.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 AvidWhy would you do that?Avid can do perfectly good XDcam50, and FFmpeg can do perfectly good H264And 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.
Posted by: Bouke <bouke@editb.nl>
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