You've got to wonder why people keep 'effing around with pc codecs and searching around endlessly in hidden directories for files when there is such a thing called a Mac. Add up your hours and I think you'll find a Mac would pay for itself within a month. Heave the cryptic multi-tasking Edsel into the bin, get a Mac and spend your time focussing on ideas.
Just my thoughts, Peter Perth (way down south, not the bonnie one). >For the record, I don't think ProRes is strictly lossless. But yes, >it's always a good idea to create a digital master from which you can >strike compressed copies. I always master using a truly lossless >codec, such as Quicktime Animation at 100% quality. That preserves >the RGB color space and 4:4:4 color sampling, whereas most codecs >will convert to YCbCr and subsample the color channels. The downside >is that file sizes get very large... 20 GB for a three minute film at >1080p24! > > // Aaron > > > > >At 12/8/2013, you wrote: >>More and more people are asking for h264 nowadays - the Good Enough >>attitude which is fine for most of my work. From Premiere / Adobe >>Media Encoder I use the Vimeo hd 720p30 setting which is what I >>mostly shoot in. Looked amazing on the big Vancouver Int'l Film >>Centre screen last week. There's 1080i and p also I think. >>Unfortunately, the projection booth is as varied as the edit suite >>these days, so you might want to make a ProRes or other lossless >>master and use that to produce versions as the need arises. Pumping >>out overnight-encodings of various kinds is what computers are for, >>after all... :-) http://www.flickharrison.com > On Dec 8, 2013, at >>1:51 PM, "Aaron F. Ross" <aa...@digitalartsguild.com> wrote: > > >>Unfortunately, the Apple ProRes encoder is not available for >>Windows. There is a workaround involving ffmpeg, but it's a pain. >>You have to render your clip to a lossless format such as QT >>Animation, then convert using ffmpeg. This is a command line app, >>but there is a front end gui available. > > >>https://www.youtube.com/watch?v=Gap6rkbJYIk > > Barring ProRes, the >>next best thing is AVID DNxHD, which is supported under Windows. But >>it's doubtful that you'll see many festivals accepting that. >>SIGGRAPH requires it, but they're really technocratic. > > Depending >>on your image content, you might be OK with h.264 at high bandwidth >>settings. I.e., ~24 megabits/sec for 1080p footage, ~5 megabits/sec >>for 480p. If you're seeing artifacts, the old standby, motion JPEG, >>may be an acceptable fallback position. > > Aaron > > > > > > At >>12/8/2013, you wrote: >> Hey folk, >> >> Just curious about what >>the (presumably few) Premiere users among you do when you're >>exporting a file for projection, what you've had good experiences >>with etc. What say you? >> >> >> -- >> --ekrem serdar >> Austin, >>TX >> (Sent from a toy) >> >>_______________________________________________ FrameWorks mailing >>list FrameWorks@jonasmekasfilms.com >>https://mailman-mail5.webfaction.com/listinfo/frameworks > > >>------------------------------------------- > > Aaron F. Ross > >>Digital Arts Guild > > >>_______________________________________________ > FrameWorks mailing >>list > FrameWorks@jonasmekasfilms.com > >>https://mailman-mail5.webfaction.com/listinfo/frameworks >>_______________________________________________ FrameWorks mailing >>list FrameWorks@jonasmekasfilms.com >>https://mailman-mail5.webfaction.com/listinfo/frameworks > >------------------------------------------- > >Aaron F. Ross >Digital Arts Guild > >_______________________________________________ >FrameWorks mailing list >FrameWorks@jonasmekasfilms.com >https://mailman-mail5.webfaction.com/listinfo/frameworks _______________________________________________ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
