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  • Mon, Jun 27 2022 8:04 PM In reply to

    • jef
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    • Joined on Sun, Feb 26 2006
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    Re: Advice? Transcode strategy for clips that "Do not Match the Edit rate...

    I do not think it is off topic at all.  The decisions made at every stage of a production impact the final result.  You asked specifically about streaming.  My thoughts cover both “broadcast” and “streaming” as they really overlap.

    The first thing I would say is to know the tech specs for delivery as early as possible.  This is sometimes impossible I realize. But knowing what a commissioning group (the people writing the checks) wants lets you get to the second thing I would say which “is everything is negotiable”.

    If the tech specs say they want no frame rate conversions and you know you will need to convert stock footage, you can start a conversation with them ASAP.  You may find that in fact they will allow a certain type of frame rate conversion but not another.  Or that there is a maximum percentage of the the show that can be converted.  Or you can get a waiver for certain irreplaceable footage.  Best to do this early on.

    Another big issue for streaming content is progressive versus interlace material.  Interlace looks bad when streamed to a computer.  It is usually a reject.  And de-interlacing to make progressive rarely looks good.  Again, you need to know what the people paying the bills will accept.

    Things like this are why I suggest you work with the native source material until the final finishing.

    From a straight budget discussion, I can see very few reasons to preconvert the frame rate of footage prior to edit when it is possible that large amounts of it will never make the final cut.  Avid does an excellent job of handling frame rates that do not match the sequence.  At any time you can easily modify the frame rate of a clip in your sequence and the method of conversion (unlike Premiere).

    As for “surprises or un-anticipated demands” the fact that some groups will not allow Frame Blending and will reject Optical Flow artifacts can really push the finishing bill higher.

    And for the question of “if the custom is to make a master in say, 2997 UHD, and then use completed file to convert to any other required framerates/specs for the deliverables.”  I would ALWAYS tell a client to know what the acceptable deliverables are and produce toward that.  If you create a show in 29.97 and are forced to deliver in 23.97 it really will be considered a standards conversion and you need to know what technology the group buying the film will accept.  You do not want to waste your money doing anything other than what they specify.

    This is just skimming the subject.  Anything deeper needs to be about the specifics of a show.  Each one can be different.

    Avid DS 11.0.2 R.I.P | MC "Well, it depends ..." 2021 iMac w Big Sur [view my complete system specs]


    Jef Huey

    Senior Editor

  • Tue, Jun 28 2022 12:32 AM In reply to

    Re: Advice? Transcode strategy for clips that "Do not Match the Edit rate...

    It is a fascinating, sobering topic. Thanks for all that important info and cautions.

    I’m reminded of the early days of indy video and how "portapak people" would need to hide their reel-to-reel visible head-switching stuff inside a full screen box wipe, just to meet the strict public television signal specs… and get their low-budget, creative work out on the air. 




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