Sync audio editready3/23/2023 ![]() Re M1, in general they handle Long GOP formats well, but there's a lot of variation. If they are Sony FS7, FX6 or FX9, the XAVC-I (MXF) 10-bit 4:2:2 codec is excellent, smooth to edit, about 1/2 the size of ProRes 422 and roughly equal in quality. If your cameras can do intraframe 10-bit 4:22, I would not shoot ProRes RAW. What would be the best or industry standard codec for my camera originals?. I always export audio to this cut file length due to the aforementioned bugs as in some versions the length of the cut was slightly off.planning for my first long form documentary and want to shoot in the best codec for Final Cut Pro workflow as well as for long-term archiving.I have at my disposal include H264 and H265 both long-GOP and intraframe in LOG, ProRes up to HQ, and ProRes RAW. Here are my steps (which is pretty much how you seem to do it)ģ) Select 'change input and output point' (window opens)Ĥ) SE autoplays the file in the new window so you need to hit the pause buttonĥ) Disable Frame by frame audio (just in case of overload)ħ) Type in timecode for in and out (SE is buggy sometimes and displays a wrong picture frame if you have BITC, but trust the TC number)Ĩ) Hit start function and check your file. I have just double checked this function on shutter encoder 14.1 on OSX 10.15.6 and it seems to be broken when using non rounded timecodes (so make sure your in and out timecodes have 00 frames at the end) SE has been buggy on this function and I've had to find a few workarounds with every update though it hasn't been flakey or frozen on me at all. That worked for me.Īnd, do others find SE occasionally flakey? It then export a new video with the "_CUT" appended by the name of your bounce file, which in my case was "_MIX". Select both (maybe you don't have to?), and chose the function, "Replace audio". Then load in the "_CUT" video and your bounce file. It exports a video marked with the suffix "_Cut". After you get this set, you hit "Start Function". or, I would get the IN set, and in order to be able to type in the OUT, I had to go grab the red cursor thingy (to use the technical term) and move it from the end a bit forward, then I could type in the OUT TC boxes. Sometimes I could get the cursor in the box and type in what I wanted, and sometimes it would "kick me out". I say finicky because I know the TC locations of my In/Out points, but typing them into the boxes proved to be a bit like throwing darts in a wind storm. ![]() This preview window is super finicky (as I have found Shutter Encoder to be, but, it could be my underlying system.I often find Shuttter Encoder freezes, doesn't respond to commands, is slow to respond etc.). (BTW, In PT, I have the MXF onboard made with Shutter Encoder from the original delivery ) I went into Shutter Encoder and chose "Cut without re-encoding" (is this what others do?). I exported a new bounce of 30 seconds out of PT. Ok! This took me a bit to figure out, but I figured out how to do this, or, at least one way.įor this example I used a trailer as it is shorter than a feature to make my test easier/simpler. I first create this edit video file and then import it to PT and bounce audio to its exact length to be double sure of the video edit length. And if your quicktime has a timecode track (all of mine from AVID MC do) then you can just enter the timecodes, it works quite well. I use Shutter Encoder to to cut QuickTimes to smaller scenes for specific reviews. ![]()
0 Comments
Leave a Reply.AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |