7/6/2023 0 Comments Fxfactory 4.0.5 serial number![]() That really doesn’t matter for most video. If you compare the Avid output through one of Avid’s DX units with FCP’s output through a Kona card, both would look the same on a broadcast monitor and scopes. In the case of these 5D spots, though, the web is the target. I have to make sure the process is as transparent as possible, since there is no I/O hardware between the NLE and the final product. When you import a QuickTime file into Avid Media Composer you must decide whether the file’s video levels are mapped as RGB (a full 0-255 range) or 601/709 (a scaled 16-235 range). Computer files, like a Photoshop graphic, are almost always RGB. The movie files generated by the Canon EOS 5D Mark II conform to a full RGB range, so set the color level mapping to RGB when importing these files into Media Composer. This tells Media Composer that the range of levels is 0-255 and must be rescaled to 16-235 upon import, when an Avid media file is created. I had both the original H.264 and converted ProRes versions of these files available. ![]() Both matched each other, so the resulting levels inside Avid Media Composer were the same whether I picked the H.264 or ProRes file. During the import stage, these were transcoded to the DNxHD145 codec for editing within a 1080p/29.97 project.Īt this point you’d edit the same as with any other project. When done you would export a finished file for web conversion. This was the critical stage in my testing, because I wanted to be sure that I could export a file that matched any FCP version. Obviously, if you are going to color grade the footage, it’s less of an issue, since the image is going to look different than the original anyway. My main concern was to assure that the roundtrip would be as transparent as possible.
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