Caption timecode only matters when exporting a finished sequence.
JZ recently sent me an email worried that his caption timecode didn’t match the timecode of where the captions were to appear in his Premiere sequence.
Worse, there was no way he could find to change the caption timing.
The answer, as Gandalf once said, is easy once you know it. An SRT caption file is a file like any other video file – except it contains captions. Timecode doesn’t matter when you import, only when you export.
In other words, after you import a caption file:
Put the playhead where you want the captions to start in the timeline.
Select the caption file in the Project panel.
Edit the caption file to the position of the playhead in the timeline.
NOTE: Remember, captions always need to be the top track in your sequence.
Just as you can put a video clip anywhere – regardless of the timecode of that video clip, you can do the same with a caption file. The key is to place the start of the captions in the right spot.
When it comes time to export the captions, once they are placed in a sequence, choose File > Export > Media.
In the Export Settings dialog, click the Captions tab.
Set Export Options to Create Sidecar File
Set File Format to SubRip Subtitle Format (SRT)
This creates a separate SRT caption file whose timecode matches the sequence.
Not all cameras shoot all formats. Here’s how to choose.
This article, written by Andy Shipsides, first appeared in HDVideoPro.com. This is a summary.
NOTE: Andy is the Chief Technology Officer for video rental house: AbleCine.
With so many cameras these days offering different recording options, combined with the popularity of external recorders, it’s no wonder there are a lot of questions about this topic.
To really answer the question, and to understand the difference between all of these formats, we need a little bit of background. ARRI’s ALEXA camera is unique in that it can output raw, uncompressed and record in a Log format, so I’ll use that camera as an example throughout this discussion. Let’s start with raw, which comes first for many reasons.
So what is raw anyway? Simply put, it’s just sensor data before any image processing. In a single-sensor camera, like the ALEXA, color is produced by filtering each photosite (or pixel) to produce either red, green or blue values. The color pattern of the photosites most often used is the Bayer pattern, invented by Dr. Bryce E. Bayer at Kodak. The raw data in a camera like this represents the value of each photosite. Because each pixel contains only one color value, raw isn’t viewable on a monitor in any discernible way. In a video signal that we can see on a monitor, each pixel contains full color and brightness information; video can tell each pixel on a monitor how bright to be and what color. This means that raw isn’t video. Raw has to be converted to video for viewing and use.
NOTE: The “Debayering process” converts image data into video for viewing.
Raw data isn’t necessarily uncompressed. In fact, it’s usually compressed. The RED cameras shoot in REDCODE, which has compression options from 3:1 to 18:1. Likewise, Sony’s F65 has 3:1 and 6:1 compression options in F65RAW mode. The raw data is compressed in much the same ways that traditional video is compressed, and the process does have some effect on image quality.
Raw data is usually at high bit depth, between 12- and 16-bit, but video is usually around 8- or 10-bit. In RGB (4:4:4) video, each pixel contains color and brightness information, which would be rather large with 16-bit depth. So, video is generally reduced in bit depth. Additionally, color information is generally reduced as well, from 4:4:4 to 4:2:2. These are both forms of compression that happen in the camera, even before recording. A standard for HD-SDI output on a professional camera is considered to be uncompressed; however, the specification for a single HD-SDI output in a 1920×1080 resolution is 10-bit 4:2:2.
Many cameras, including those from Sony, Canon, RED and ARRI cameras have a Log recording mode. When the Log modes are activated, the image becomes flat and desaturated, but you can still see it on a monitor. This should clue you in that Log recording is just standard video recording in the sense that all pixels display color and brightness information. Log isn’t raw; it’s video. However, it’s a special way of capturing that maximizes the tonal range of a sensor.
Raw is not Log because Log is in a video format, and raw is not video. Raw data has no video processing baked in and has to be converted into video for viewing. Log is video and has things like white balance baked into it. They’re very much not the same; however, they’re both designed to get the most information out of the sensor. Raw is getting everything the sensor has to offer; likewise, Log curves are designed to get the most tonal range out of the sensor. While they’re very different formats, they have the same general application. Both raw and Log can be uncompressed, but that depends on the recording device.
https://www.theinsidetips.com/wp-content/uploads/2019/09/Tips-Logo-700x150.jpg00Larry Jordanhttps://www.theinsidetips.com/wp-content/uploads/2019/09/Tips-Logo-700x150.jpgLarry Jordan2021-02-23 01:30:002021-02-23 01:30:00Tip #1433: Uncompressed vs. Raw vs. Log Video
Converting ProRes RAW to ProRes 4444 allows Resolve to edit the media.
ProRes RAW is a very popular codec that provides the highest-possible image quality in the smallest possible (but not actually very small) file size.
ProRes RAW can be edited in:
Final Cut Pro
Adobe Premiere Pro
Avid Media Composer
But not DaVinci Resolve. However, there’s a workaround, as reported by Charles Hull on the BMD forum:
“I’m sure this has been discussed here, but there is a very simple work-around for running ProRes RAW in Resolve. When I first heard about it I thought it was too much hassle, and might not work well anyway, so I continued with FCPX for ProRes RAW. So the work-around is to transcode ProRes RAW to ProRes 4444. ProRes RAW is 12 bits, and ProRes 4444 is 12 image bits, so it is a good fit, and it runs well in Resolve. The simple and painless way to do this is to import all the clips into Compressor and bulk export them to ProRes 4444.
“I’ve been shooting ProRes RAW since it first came out. I do mostly HDR, and get very good results with ProRes RAW and Resolve. Coincidently just ordered the Panasonic S1H and was happy to see it will have ProRes RAW via the Atomos NinjaV. I know how to handle this.”
BMD RAW files are now supported by Resolve, Premiere and Media Composer.
Last week, Blackmagic Design released the latest iteration of their smallest camera: The Pocket Cinema Camera 6K Pro. The camera supports only two codecs: Blackmagic RAW and ProRes. Who else supports BMD RAW?
Blackmagic describes the BMD RAW codec this way: “Blackmagic RAW is a revolutionary new and very modern codec that’s easier to use and much better quality than popular video formats, but with all the benefits of RAW recording. Featuring multiple new technologies, such as a new advanced de-mosaic algorithm, Blackmagic RAW gives you visually lossless images that are ideal for high resolution, high frame rate and high dynamic range workflows. Incredible image quality, extensive metadata support and highly optimized GPU and CPU accelerated processing make Blackmagic RAW the world’s first codec that can be used for acquisition, post production and finishing. Blackmagic RAW is a totally new design, plus it’s cross platform, freely available and includes a developer SDK so anyone can add support for Blackmagic RAW to their own software.”
So, which software supports Blackmagic RAW?
Blackmagic DaVinci Resolve
Avid Media Composer
Adobe Premiere Pro
So far, though, the only cameras that shoot Blackmagic RAW are from Blackmagic Design.
NOTE: If other NLEs have announced support, please add a mention in the Comments.
https://www.theinsidetips.com/wp-content/uploads/2019/09/Tips-Logo-700x150.jpg00Larry Jordanhttps://www.theinsidetips.com/wp-content/uploads/2019/09/Tips-Logo-700x150.jpgLarry Jordan2021-02-23 01:30:002021-02-23 15:44:45Tip #1430: Who Supports Blackmagic RAW
Reference waveforms make it easier to edit low-volume audio clips.
There’s an option in Final Cut Pro’s Editing preferences called “Reference Waveforms.” What are these things?
According to the Final Cut Pro Help files: “A reference waveform shows the maximum visual resolution possible for the actual audio waveform. By factoring out loudness, reference waveforms let you see the shape of the sound more clearly. When the actual waveform changes shape (for example, it’s diminished when a clip’s volume level is low), you can continue to see its reference waveform in full for easy reference when editing.”
In other words, a reference waveform shows the audio as if it were at full volume. This allows you to easily see areas containing audio vs. those with none. (The red arrow in the screen shot is pointing to a grayed-back reference.)
Turning these on or off has no impact on your audio, the mix or final output.
These can be enabled or disabled using Final Cut Pro > Preferences > Editing.
https://www.theinsidetips.com/wp-content/uploads/2019/09/Tips-Logo-700x150.jpg00Larry Jordanhttps://www.theinsidetips.com/wp-content/uploads/2019/09/Tips-Logo-700x150.jpgLarry Jordan2021-02-22 01:30:002021-02-22 11:50:58Tip #1427: What Are "Reference Waveforms"?
Stand-alone still frames are highly flexible separate pieces of media.
One of the more helpful hidden features in Final Cut Pro is creating a stand-alone still frame. Most of the time, a hold frame (Shift + H) works fine.
But, when you need to create a separate piece of media that can be moved anywhere and trimmed to any length, still frames are the best choice. I use these constantly when I’m editing my webinars. Here’s how to create them.
NOTE: Be warned. Unlike a hold frame, still frames are separate media, meaning they are easy to move out of sync.
There are two options:
Edit the still frame into the Primary Storyline, at the position of the playhead.
Edit the still frame into a higher layer, at the position of the playhead.
To create a still frame and edit it into the Primary Storyline at the position of the playhead:
Put the playhead on the frame you want to freeze.
Type Option + F.
A still frame appears, with a duration equal to the still image duration set in Preferences > Editing > Still Image.
To create a still frame and edit it onto a higher layer at the position of the playhead:
Select the clip you want to create the still frame from.
Put the playhead on the frame you want to freeze.
Type Shift + F. This creates a match frame in the Browser.
Type Option + F. This edits the frame into position
There are lots of camera options – here are some top choices for 2021.
This article, written by Jourdan Aldredge, first appeared in PremiumBeat.com. This is a summary.
Despite a pandemic slowing down industries across the world, the digital camera game is as robust and fierce as ever. In the past year, we’ve seen major technological breakthroughs, as well as plenty of big updates and completely new cameras added to the fold.
But, which one is right for you? PremiumBeat ranked their top ten favorites. Here’s the list:
Blackmagic Pocket Cinema Camera 6K
Nikon Z6 II
Sony a7S III
Panasonic Lumix S1H
Canon EOS R5
Sony Alpha 1
Blackmagic URSA Mini Pro 12K
Canon C300 Mark III
ARRI ALEXA Mini LF
This article provides additional specs, analysis and videos proving more details on each camera.
https://www.theinsidetips.com/wp-content/uploads/2019/09/Tips-Logo-700x150.jpg00Larry Jordanhttps://www.theinsidetips.com/wp-content/uploads/2019/09/Tips-Logo-700x150.jpgLarry Jordan2021-02-19 01:30:002021-02-19 01:30:00Tip #1413: Top 10 Digital Video Cameras
The hardware is not inexpensive, but the possibilities are vast.
Frame.io last Thursday launched Frame.io Camera to Cloud (Frame.io C2C). This new workflow lets customers instantly upload and stream images from on-set cameras to creative post-production teams anywhere in the world.
Frame writes: “We believe camera-to-cloud will have a massive impact on the filmmaking industry at large — especially at a time like now, when filmmakers are trying to get back on set with fewer crew members; camera-to-cloud takes video village off-set for a completely safe way to produce films. ”
To make this happen requires a combination of Frame’s online secure review and comment platform with leading hardware companies to connect production tools with the cloud.
Frame partnered with three leading companies to make C2C possible:
designs and manufactures high-performance video solutions for broadcast and cinema. A Frame.io authenticated CUBE 655 encoder delivers live streams and camera proxy files directly into Frame.io.
Sound: Sound Devices
designs and manufactures the world’s leading production sound field recorders. The latest 888 and Scorpio recorders capture and transmit original audio files directly into Frame.io.
Post: Colorfront has developed the world’s first fully cloud dailies platform. Their Express Dailies integration with Frame.io allows labs to instantly access the video and audio assets to create dailies.
As well, Frame published the API of their new system so that studios and developera can create their own custom workflows.
Here’s the link to more developer information from Frame.
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