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TOPIC: What is the workaround for consolidation?

Re: What is the workaround for consolidation? 1 week, 2 days ago #185685

  • jwrl
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Looking forward to it, but not holding my breath.

Re: What is the workaround for consolidation? 1 week, 2 days ago #185689

  • RWAV
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briandrys re your concatenation comments. Standard operating procedure here has always been that every transcode must be at a higher data rate then the source - by a considerable factor. So for example 50Mb camera originals are transcoded to 220Mb DNxHD.
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Re: What is the workaround for consolidation? 1 week, 2 days ago #185693

  • jwrl
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That's definitely the safest way to go. Even so, it's still possible to get artefacts caused by differences in compression algorithms.

Re: What is the workaround for consolidation? 1 week, 2 days ago #185703

  • RWAV
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Yes it is, we certainly have seen some codec-busting results but they are predictable under certain shooting setups - so the DOPs are alerted to avoid that - a re-shoot is in no one's best interest.
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Re: What is the workaround for consolidation? 1 week, 2 days ago #185717

  • donkpow
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Thanks again.
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Re: What is the workaround for consolidation? 1 week ago #185781

  • arniepix
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fishmonger wrote:
Just a quick note - we're hoping to restore consolidate for version 15.0
f


Hallelujah!!

The ability to use a "consolidate" tool to send a trimmed sequence with original picture and sound media (or lossless quality in an industry standard mezzanine codec) downstream to a colorist, VFX compositor, sound mixer, online editor, etc. is NOT an option. It's a requirement for current professional workflows.

Feature films and episodic TV and long form documentaries are still shot and cut with the intention of using offline codecs and double system sound in the edit suite (now sometimes the filmmakers laptop at their beach house).

Being able to link back to trimmed picture and sound originals is just as important as it was when we were working with workprints and mag tracks on Moviola uprights or Steenbeck or KEM tables and sending them to negative cutters and sound mixers.
I work in Manhattan, USA, but at night I cross the waters to sleep in Brooklyn, USA.

Also, post production is not an afterthought!
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