![]() ![]() Then link to Avid and transcode into project frame rate. When all else failed, I tried doing it in two steps: Go from progressive to interlaced with Adobe. Often I have to import progressive 30fps to interlaced 25fps (ugh). I try encoding with something else before importing into Avid. But when the movement gets haltingly transcoded, what to do? Then transcoded using "Convert to Project Frame Rate." And it's often the best way to to go. In most cases I manage things like ajordan92 : " AMA in random frame rates, in the source settings adjusted the playback frame rate to the project 25fps and click apply. My biggest issue is with traveling or panoramic shots (converting 30fps to 25 fps), when the camera movement seems halting. We wget footage from all over the world with timecode burned in, then conform after offline editing is completed. This whole thread is most interesting, I'm keeping a copy for reference. I work with loads of archival footage in a 25 fps interlaced HD project. I guess its maybe down to some kind of precise speed effect data coming across in the AAF compared to the EDL. So I think my new method will be adjusting within Avid but always supplying an AAF and highlighting the importance of using the AAF. Only 70% of the EDL conformed (so was better then DaVinci) but he was easily able to force the clips to conform without issue. Luckily for me we have a Flame suite in the building so also asked the Flame Op to conform the sequence and he had no issues conforming the AAF aside from 1 clip being 1 frame out. But for the most part the AAF was 100% frame for frame reliable in DaVinci. Although we actually created a new EDL in DaVinci from the AAF sequence and that seemed to work ok. I was then able to conform in DaVinci using the AAF! However the EDL was useless. Then transcoded using "Convert to Project Frame Rate." Using this footage of 24fps, 23.98, 30 and 25fps I edited a very basic clip together and exported an EDL/AAF. So I AMA in random frame rates, in the source settings adjusted the playback frame rate to the project 25fps and click apply. I have done some tests last week with mixed framerates and this method described. This is the type of approach I would love to adopt as workflow becomes so much more effecient when keeping everything in Avid. Lastly, there maybe a very obvious solution like running it through Da Vinci or even EditReady, but I'm not aware so even if this is the case and its blindingly obvious please post! So essentially there can't be any timecode discrepancies, every frame needs to have a unqiue timecode.įeel free to suggest any solution, even ones which may incur software/app costs because it is an essential part of the workflow so work will invest in getting this right and making it seamless.Īvid version we are currently running is 8.9.4 - however again, we can update if needed. So I want to find an alternative solution to converting mixed frame rate footage to 25fps, which most importantly will conform later down the line using an EDL and AAF at a different post house that are conforming to do the grade/VFX or online. It only works with the Final Cut package installed, which if we were to replace the machine we would lose it. Both Cinema Tools and MPEG Streamclip are outdated and discountinued to some extent 2. However, my issue with this is that because we have officially stopped running Final Cut (every editor now uses Avid) we only have Cinema Tools on one old Final Cut partition on one computer, additionally I think I'm right in saying 1. This is the way they were doing it when I started here and its just been continued. So essentially we are creating new masters which we copy onto the drive which gets delivered to the post house for grading/online. Our current workflow is to batch convert these in MPEG Streamclip to Pro Res 442 HQ/4444 (if they aren't already) and then run these through cinema tools conforming to 25fps. Being based in the UK 90% of projects are 25fps, so the mixed footage we receieve is in 24fps, 23.976fps, 30fps e.t.c. Often for the poorly produced promos and the occasional stock footage related work we receieve footage in varying frame rates. So I work in a commercial offline editing house where we do promos/commercials e.t.c. Sorry, another annoying frame rate discussion. ![]()
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