Monday, September 15, 2014

Re: [Avid-L2] H.264 Avid Export with frame rate conversion takes forever?

 

Hi John,

If you have premiere pro on your system you can export a same as source QT from avid quickly and import it to premiere pro for your conversion.  I believe premiere pro links to the file instead of importing it so it is available immediately.  I compressed a 100 minute event video shot in a single take as AVCHD1440 x 1080 to 1920 x 1080 h.264 for you tube in 60 minutes.

Best Wishes,

Paul


From: "John Moore bigfish@pacbell.net [Avid-L2]" <Avid-L2@yahoogroups.com>
To: "Avid L2" <Avid-L2@yahoogroups.com>
Sent: Monday, September 15, 2014 1:08:14 AM
Subject: [Avid-L2] H.264 Avid Export with frame rate conversion takes forever?

 

Exporting a 23.976 timeline DNX 175X SNDX 5.5.4 OS 10.6.8.  I set the export to limit bandwidth to 800Kb/sec.  size is 960x540 and I set the frames per second to 29.97 so as to convert the 23.976 frame timeline to a 29.97 fps QT.  At first Avid estimated 36 hours.  Then I did a video mixdown and it was saying 16 hours.  I've resorted to exporting a QT Ref and having QT Pro convert the ref .mov to a 29.97 H.264.  This seems to be moving faster judging by the progress bar.  The progress bar is an eighth of the way along after 10 minutes or so.  Of course I don't know if that's accurate.  It does seem like doing the export from Avid with the frame rate conversion is ridiculously long.  Am I missing something or some Avid trick to speed up it's H264 export.  I rarely use avid to do anything but a QT ref export so I'm a bit surprised.
 
John Moore
Barking Trout Productions
Studio City, CA
bigfish@pacbell.net


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Posted by Video Geek Squad at 3:16 AM 0 comments

Sunday, September 14, 2014

Re: [Avid-L2] H.264 Avid Export with frame rate conversion takes forever?

 

I don't want to deliver the file as 29.97fps but the post supervisor is worried if the fps on the screening file doesn't match the frame rate of the final deliver which will be 59.94I.  We have always done these shows 29.97P and delivered 59.94I.  Why this one was done in 23.976 is a mystery to me.  Perhaps they were trying to save space as it's extremely long takes filling up more than one card on the Arri Alexa cameras.  I can't see why there is a need to mach the frame rate.

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Posted by Video Geek Squad at 11:31 PM 0 comments

Re: [Avid-L2] H.264 Avid Export with frame rate conversion takes forever?

 

You're asking a lot and that custom QT exporter from MC is one of the worst things. You've already heard my rants about it I'm sure.

First question is - why do you want to make a 29.97 H.264 from a 23.98 master? This is not gonna look good. H.264 isn't great at preserving interlacing, and you generally don't want it, so the pulldown is going to be bad. I'd opt for staying native 23.98 for your H.264.

Ultimately, I would say you're better off (and faster) exporting a SAS QT (or ref) from MC and dropping that into Compressor. It's a much MUCH better encoder and can tailor your output with many features that determine quality vs. speed. So if you're looking for down and dirty, which you clearly are by asking for a 800K/s H.264, you can force it to do the lowest quality resize and just have Compressor hash through the thing. 800K/s isn't gonna look great anyway. And with Compressor, you can use the QuickCluster to break your source file apart and hash through the pieces with your multiple core processors to make it go even faster. (Note: going from big file to little file is the ONLY time QuickCluster is worth using, on account of the time it takes to piece the encoded file back together).

I will say this part again as I've been wont to do many times in our conversations: I hate QT Pro for any export operation. Save as is fine, but using QT Pro to encode is asking for trouble. Gamma shifts, frame rate shifts, you name it, it will screw you. Compressor is a fine tool for what you're asking for.

On Mon, Sep 15, 2014 at 1:08 AM, John Moore bigfish@pacbell.net [Avid-L2] <Avid-L2@yahoogroups.com> wrote:
 

Exporting a 23.976 timeline DNX 175X SNDX 5.5.4 OS 10.6.8.  I set the export to limit bandwidth to 800Kb/sec.  size is 960x540 and I set the frames per second to 29.97 so as to convert the 23.976 frame timeline to a 29.97 fps QT.  At first Avid estimated 36 hours.  Then I did a video mixdown and it was saying 16 hours.  I've resorted to exporting a QT Ref and having QT Pro convert the ref .mov to a 29.97 H.264.  This seems to be moving faster judging by the progress bar.  The progress bar is an eighth of the way along after 10 minutes or so.  Of course I don't know if that's accurate.  It does seem like doing the export from Avid with the frame rate conversion is ridiculously long.  Am I missing something or some Avid trick to speed up it's H264 export.  I rarely use avid to do anything but a QT ref export so I'm a bit surprised.
 
John Moore
Barking Trout Productions
Studio City, CA
bigfish@pacbell.net


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Posted by Video Geek Squad at 10:45 PM 0 comments

[Avid-L2] H.264 Avid Export with frame rate conversion takes forever?

 

Exporting a 23.976 timeline DNX 175X SNDX 5.5.4 OS 10.6.8.  I set the export to limit bandwidth to 800Kb/sec.  size is 960x540 and I set the frames per second to 29.97 so as to convert the 23.976 frame timeline to a 29.97 fps QT.  At first Avid estimated 36 hours.  Then I did a video mixdown and it was saying 16 hours.  I've resorted to exporting a QT Ref and having QT Pro convert the ref .mov to a 29.97 H.264.  This seems to be moving faster judging by the progress bar.  The progress bar is an eighth of the way along after 10 minutes or so.  Of course I don't know if that's accurate.  It does seem like doing the export from Avid with the frame rate conversion is ridiculously long.  Am I missing something or some Avid trick to speed up it's H264 export.  I rarely use avid to do anything but a QT ref export so I'm a bit surprised.
 
John Moore
Barking Trout Productions
Studio City, CA
bigfish@pacbell.net

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Posted by Video Geek Squad at 10:08 PM 0 comments

[Avid-L2] resolve and avid detecting native framerate of source and online conforming 1920(+) (4K)

 

it is fun that one can currently take 1920(+) (4K), any frame-rate too and edit it in the Avid using AMA. The avid adds a motion effect when the framerate of the source file does not match the project framerate for sequence playback.

this is fun because as long as you frame the shot correctly in the Avid Reformat selection, one can match this in Resolve for the perfect image matching your raster width and height.

what I love is in theory a camera master source can be 1920+, any-frame-rate and one can edit with the native master source file (tape-less) right now with Avid - Avid Media Access (A.M.A.). And use Resolve to deliver a 1920(+) master source file.

the issue I have noticed is that for some codec and wrappers Resolve will not properly detect the standard native framerate of the master source. I must use the clip properties in Resolve to manually choose the proper standard-frame-rate for these source masters for the perfect online conform. Resolve currently for me will attempt to conform these sources and will not flag anything in the timeline - thus, Resolve is using the wrong timecode count in the Resolve timeline. Those shots can be off by 30 seconds+ etc...

also if Resolve is using a source master file and the frame rate is not one that resolve supports then Resolve will use it's own standard framerate to calculate the timecode of the file. I would love it if Resolve could use non-standard framerates and natively by default choose the proper frames per second per each source file master.

In the Avid I use the window-burn-in-effect and choose to display the source native framerate and the file-name for each edit creating a chase-reference for Resolve. In Resolve I can change the clip properties and have the perfect online conform using this chase-reference as a guide.

 

- scott freeman

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Posted by Video Geek Squad at 10:02 PM 0 comments

Re: [Avid-L2] Resolve Scaling Video level on Transcoding Phantom .cine files to DNX 440X when Resolve was set for DNX 220X?

 

I believe the point is that you can look at and grade either option,
then decide which one you need at output time.

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Posted by Video Geek Squad at 7:46 PM 0 comments

Re: [Avid-L2] BM acquires eyeon

Ya, my experiences with the BMD cameras has been mixed.

But I was more thinking about products/companies BMD acquired and that already had established customers/users before BMD became involved.

Any long-time DaVinci users here who can comment on changes, for good or bad, post-BMD acquisition?

Jim


On Sep 12, 2014, at 10:58 AM, paulsulsky@comcast.net [Avid-L2] <Avid-L2@yahoogroups.com> wrote:

>
> Hi Jim,
>
> The production 4K camera certainly hasn't been easy to use. At least for me. I do really like the built in color charts in Resolve.
>
> Best Wishes,
>
> Paul Sulsky
>
>
> From: "Jim Feeley jfeeley@gmail.com [Avid-L2]" <Avid-L2@yahoogroups.com>
> To: Avid-L2@yahoogroups.com
> Sent: Friday, September 12, 2014 1:12:13 PM
> Subject: Re: [Avid-L2] BM acquires eyeon
>
> How are things working out for customers of BMD's $30,000 version of DaVinci Resolve?
>
> For better or worse (and I don't know which it is), BMD or their resellers could provide a similar level of support for big installs of Eyeon Fusion.
>
> Related: how is Eyeon's current support for their VFX customers?
> (I have some historical anecdotes from VFX friend, but nothing recent)
>
> Jim
>
>
> On Sep 12, 2014, at 10:00 AM, 'Mikeparsons.tv'mikeparsons.tv@gmail.com [Avid-L2] <Avid-L2@yahoogroups.com> wrote:
>
> >
> > $999 running on 70k of fibre channel raid 24 procs twin k5000s?
> >
> > Not gonna happen in a hurry.
> >
> > One word. Support.
> >
> > My flame breaks Autodesk are in my office with parts and unix guru within a couple of hours.
> >
> > That's the level of support my clients demand.
> >
> > Mike
> >
> >
> > On 12 Sep, 2014, at 10:41 pm, "tcurren@aol.com [Avid-L2]" <Avid-L2@yahoogroups.com> wrote:
> >
> >>
> >> Mike writes:
> >>
> >> "Theres some pretty fierce competition at the sharp end. "
> >>
> >> Two words.... $999 & Free.
> >>
>
>
>
> ------------------------------------
>
> ------------------------------------
>
>
> ------------------------------------
>
> Yahoo Groups Links
>
>
>
>
>
>



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Posted by Video Geek Squad at 7:25 PM 0 comments

Re: [Avid-L2] Resolve Scaling Video level on Transcoding Phantom .cine files to DNX 440X when Resolve was set for DNX 220X?

 

Oh now I see that in the output section of the deliver tab.  "Set to video or data level:"  Choices are "Auto",  "Normally scaled legal video" or "Unscaled full range data".  I suppose that I was in default Auto and I would assume that follows the video monitoring settings but my experience indicates it doesn't.  I'll have to look up what the auto setting basis it's choice on.  Leave it to Resolve to let me see one thing on the scope and output a different level on the file.  I'm sure it's all just part of the learning curve.



---In avid-l2@yahoogroups.com, <mikeparsons.tv@...> wrote :

No - in the export section about 3 inches down is a check box for legally scaled video.

I rarely use davinci myself do can't remember exact wording but I'll look in a couple of hours when I go into work.

Best regards 

Mike


On 15 Sep, 2014, at 6:05 am, "bigfish@... [Avid-L2]" <Avid-L2@yahoogroups.com> wrote:

 

By Legal video box I assume you mean the video levels vs data levels in the video monitoring section.  Is there another place to check?  Kind of confusing given it says video monitoring section I assumed that only effected the video monitoring and not the actual file output levels or perhaps I'm missing a different setting elsewhere that I never changed.



---In avid-l2@yahoogroups.com, <mikeparsons.tv@...> wrote :

No need to use the LUT.

What resolve expects you to do is grade full range and scale to legal
video on export. Addign the LUT and scaling will scale from full range
to video levels and wash out your LUT, just grade away and on export
tick the legal video box.

Mike

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Posted by Video Geek Squad at 7:03 PM 0 comments

Re: [Avid-L2] Resolve Scaling Video level on Transcoding Phantom .cine files to DNX 440X when Resolve was set for DNX 220X?

 

No - in the export section about 3 inches down is a check box for legally scaled video.

I rarely use davinci myself do can't remember exact wording but I'll look in a couple of hours when I go into work.

Best regards 

Mike


On 15 Sep, 2014, at 6:05 am, "bigfish@pacbell.net [Avid-L2]" <Avid-L2@yahoogroups.com> wrote:

 

By Legal video box I assume you mean the video levels vs data levels in the video monitoring section.  Is there another place to check?  Kind of confusing given it says video monitoring section I assumed that only effected the video monitoring and not the actual file output levels or perhaps I'm missing a different setting elsewhere that I never changed.



---In avid-l2@yahoogroups.com, <mikeparsons.tv@...> wrote :

No need to use the LUT.

What resolve expects you to do is grade full range and scale to legal
video on export. Addign the LUT and scaling will scale from full range
to video levels and wash out your LUT, just grade away and on export
tick the legal video box.

Mike

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Posted by Video Geek Squad at 4:24 PM 0 comments

Re: [Avid-L2] Resolve Scaling Video level on Transcoding Phantom .cine files to DNX 440X when Resolve was set for DNX 220X?

 

By Legal video box I assume you mean the video levels vs data levels in the video monitoring section.  Is there another place to check?  Kind of confusing given it says video monitoring section I assumed that only effected the video monitoring and not the actual file output levels or perhaps I'm missing a different setting elsewhere that I never changed.



---In avid-l2@yahoogroups.com, <mikeparsons.tv@...> wrote :

No need to use the LUT.

What resolve expects you to do is grade full range and scale to legal
video on export. Addign the LUT and scaling will scale from full range
to video levels and wash out your LUT, just grade away and on export
tick the legal video box.

Mike

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Posted by Video Geek Squad at 4:05 PM 0 comments

[Avid-L2] Re: video from IBC ?

 

>Is there video from the Avid presentations? Why not?

Because that would mean hiring people to devise a cogent marketing strategy that effectively communicates the value proposition of their product line.

Avid does not do that.

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Check out the automatic photo album with 1 photo(s) from this topic.
from-Avid-Media-Composer-Cookbook.png

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Posted by Video Geek Squad at 10:51 AM 0 comments

[Avid-L2] File - FAQ AVID-L2.txt

 


Welcome to the Avid-L2
FAQ!
AVID-L II Frequently Asked Questions (FAQ)

Subscribing (or unsubscribing) to the Avid-L2
Send an e-mail message to:
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To change your member type, visit the group web site and modify your membership type in the check boxes provided

Policies
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Subscribers should set up an account with their legal first and last names, then send the request to join.
This is a Moderated list, and all subscription requests must be approved by the moderator(s). If you have a Yahoo account already that you would like to use, but doesn't contain your first and last names, please include your first and last name in the subscription request to the moderator when you request to join.

As always, Yahoo and the moderators of this list are not responsible for the use third parties may make of information you have made publicly available in this or any other public
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Policy for more information about public information and forums.
Off Topic Filtering. Part of the interest of the Avid-L2 is it's range
of topics. If you are posting an Off-topic thread, please preface the
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Email filters and rules can be used by subscribers to move Off Topic posts to where ever they would like in their email organization by using a rule/filter with Sender of: Avid-l2@yahoogroups.com and subject contains OT: .

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Comercial Posts must be prefaced with [comercial] in the subject or they will be rejected.
Jobs should have [job] in their header, and press releases should have [pr] in their header

Background

Avid-L was established in 1994 at Calvin College by Steven Koster.
It was created to be a forum for Avid users to meet, discuss, and share
information.

Avid-L quickly grew into the premiere on-line users group for
professional film and video editors. It was one of the earliest examples

of an Internet community, allowing hundreds of editors worldwide to
share their experiences and expertise with their peers. There was no
better place for a professional Avid editor to get such wealth of
informed professional advice.

At various times, individual subscribers volunteered services to the
group. Searchable archives were maintained by Germany's Berlin Users
Group as well as the UIUC. A tips & tricks list was posted by Andy
Birkhead of Innovative Edit. Wes Plate, a longtime contributor, not only

shared key techniques on his Web site, he also created a photo gallery
for members' portraits.

In 1997, several subscribers began a tradition of meeting in person at
the NAB trade show in Las Vegas. The first gatherings were organized by Jaime Fowler. In 1999,
Avid Technology itself began sponsoring these gatherings as an exclusive reception and seminar for Avid-L members only. In 2002, this changed to the "Avid Users Group" meeting.

By 1999, Avid-L boasted over 1600 subscribers, exhibiting a true
international scope with over 300 international members. The community
included participants from a wide variety of well-known corporate
organizations in broadcasting, technical, and content creation fields,
as well as and multiple local TV stations, colleges, and universities.

In 2000, Avid-L joined AvidProNet.com, and then, in 2002, was integrated
Into Avid.com.

In 2005 Due to problems with signal to noise ratio and abusive posters, the Avid-L2 was formed. A year later the Avid-L was discontinued by Avid.

At the middle of 2006, the L2 has around 1100 members, with plenty of "lurker only" members who simply use the web version of the list. The L2 is spam-free, by moderation and with Yahoo's tools and will remain that way. The integrated archives with both old L and L2 posts came on line recently as well at the University of Illinois. That can be found at http://archives.itg.uiuc.edu/avid/.

Cross-posting to the FCP-L is welcome, tho reply's will not flow back to either list necessarily- check your own email reply preferences. The Final Cut list is found at: http://movies.groups.yahoo.com/group/FinalCutPro-L

Welcome, and Enjoy!

Extras!
With a Yahoo account tied to your subscription to the Avid-L2, you can use the web features of the Group.

Calendar Various Avid events are in the Calender. If you have an event you'd like posted, pull down and fill out the Calendar event request and send it to any Moderator

Database - The database area contains Avid Feature requests, Help Wanted, Freelance Listings and For Sale sections. Feel free to add your listings to any of these areas. Job Postings will remain up for 1 month. Please date all postings to the database areas, being pertinent is a good way to be.

Files- The files section contains various sundry files, including the latest Avid release notes. Check back often for changes.

Photos - Pictures of your Avid setup are welcome, or pictures relating to a post you need a photo to explain. Photos will be posted after moderator approval. Who knows, your picture might grace the front page for a while.

Links- Various helpful links, including direct links to Avid CPR releases can be found here, also the link to the archives.

JDS

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Posted by Video Geek Squad at 3:29 AM 0 comments

Re: [Avid-L2] Resolve Scaling Video level on Transcoding Phantom .cine files to DNX 440X when Resolve was set for DNX 220X?

 

No need to use the LUT.

What resolve expects you to do is grade full range and scale to legal
video on export. Addign the LUT and scaling will scale from full range
to video levels and wash out your LUT, just grade away and on export
tick the legal video box.

Mike

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Posted by Video Geek Squad at 2:15 AM 0 comments

Re: [Avid-L2] Resolve Scaling Video level on Transcoding Phantom .cine files to DNX 440X when Resolve was set for DNX 220X?

 

I had thought I had found the secret sauce in the video monitoring section to determine the color space as video or Data.  It definitely makes a difference on my ext. scope.  In video mode 0 to 1023 shows up as 16-235 and in data mode it shows up with -50mV black and 780mV white or so, I didn't make a precise measurement.  Basically the difference between RGB and 601_709 color space.  The final solution was to run in video mode and let everything go full swing on the Resolve scopes.  The soft LUT I used set to 64-940 ended up with washed out Avid media like importing 601_709 as RGB.  It seems that even though my external scope showed it correctly 16-235 0 to 700mV the baked Avid media files didn't come out right.  I assume the proper settings are to set the video monitoring to the desired end result files as it seem to effect more than just the video monitoring, but I may be confused about this.



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

If you send kosher 16-235 or 64-940 bars to Resolve they always show as 0-1023 on the Res scopes. Not helpful. Spoke to a BM guy today and he couldn't really see the problem. I do, as do you, I think.

 With best wishes,
Roger Shufflebottom
+44 7973 543660

On 12 Sep 2014, at 08:32, "John Moore bigfish@... [Avid-L2]" <Avid-L2@yahoogroups.com> wrote:

 

So I set the Resolve monitor to get DATA not Video levels and it tracked properly on my external scope to the Resolve internal scopes.  Now when I look at the resulting files the levels are like importing at RGB levels but with 709 level media, blacks are high and whites are low.  I'm not sure why the avid media is DNX 440X either.  My first test was 1090P 29.97 and that came out as DNX 220X.  Then I decided to see what a 1080i export would be like from these seemingly progressive files.  Both times with and without LUT I end up with DNX 440X media.  I double checked and the selection in the delivery settings only list 220X as the highest value.  Where does the DNX 440X baked media get it's orders from.  Am I missing a setup option.  Why does 1080P behave target media wise but 1080i doesn't?

Now I'm no Resolve person but I sure figured that if I see the same values on the internal scopes and my external scope things were playing nice.  First I found that 0 to 1023 on Resolve scopes was showing as 0 to 700 mV on my Tek scope.  Changing the monitoring settings to DATA and not Video levels got the Tek Scope reading the over and undershoots like I would expect for levels below 64 and above 940.  Now I cook the files and it's like the Resolve scaled the values up to video levels like I was seeing when my video monitor setting were video levels.  Is Resolve sneaking behind my back trying to protect me from sending out illegal levels by scaling 0-1023 to 64-940?  I put on my custon LUT to do that inside the Resolve so I thought the true data levels on the Avid media would be correct in Avid 709 world.  I'm enjoying the challenge but I've about had as much enjoyment as I can stand.  If this were linear I'd already be done.
 
John Moore
Barking Trout Productions
Studio City, CA
bigfish@...

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Posted by Video Geek Squad at 1:46 AM 0 comments
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