I understand your concern about multiple compression passes. However, staying within the same codec, if it's a good one, won't be an issue. When they first released the DnxHD codecs, they did a test taking it down something like 50 generations without visible loss.
Going through different codecs is dangerous as each throws out different things, I would be more concerned with avoiding the ProRes pass if I were you.
--- In Avid-L2@yahoogroups.com, mike cardeiro <mcardeiro@...> wrote:
>
> > From: Steve Hullfish <steve4lists@...>
>
> >Canon 5D files are massively compressed to begin with (I know, I own this camera). Taking it to DNxHD is a good thing.
>
>
> my thinking is this. Its already compressed. I transcode to dnx for the avid it is compressed again. Color correct does their thing and now they give it back to me pro res qt (their format) so its compressed again, now I have to take it back into the avid and transcode to dnx (compressed again) export to after effects, composite render out as dnx compressed again...thats like 4 passes of compression
>
>
>
> >And if you use AMA, I thought you should be able to re-AMA them without the hand-picking you described. Or didn't you use AMA to bring them in and convert them? Stick with the 175 10bit file. That contains all of the information and bit depth you're ever going to get out of 5D files, which, I'm >pretty sure are only 8bit to start with.
>
>
> when I opened them up in AMA they had a different timecode than the transcoded files, and I did trancode directly from the ama bin.
>
>
>
> Mike Cardeiro
> Editor/Animator
> D4 Creative Group - Philadelphia, PA
> 215-483-4555
> -------------------------------
> Resume | samples
> http://www.michaelcardeiro.com/resume/
>
No comments:
Post a Comment