From: John Morgan <John.Morgan@slcc.edu>
To: After Effects Mail List <AE-List@media-motion.tv>
Date: Wed, 8 Feb 2012 18:54:57 -0700
Subject: RE: [AE] Love You Adobe
Thread-Topic: [AE] Love You Adobe
Thread-Index: AczmyBeBqmt40uA3QbKNiyiLP8tpWgAAfcWd
Message-ID: <EAE675A223415848A14AA69EBCDE9D0A591368E76B@EXCH.slcc.int>
References: <list-4620795@media-motion.tv>
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Carey and James, thanks much for adding to this discussion. As I listen to =
both your explanations about benefits of working in a common codec, I almos=
t feel like we're trying to reach across a cultural divide. "A mid-point co=
nversion" is a concept I can't get my head around. Granted, I work as a sin=
gle production entity.  I don't share projects or move projects between com=
puters. I don't edit other shooter's work. I don't import other's projects =
from other editing apps; therefore, a need for a mid-point conversion has n=
ever existed here.

That said, maybe I DO work in a common codec of sorts.....better named 'a c=
ommon sequence setting.'  With the Matrox MXO2LE hardware and drivers, I us=
e sequence settings that Matrox drivers provide. Since I shoot 720p 23.98 o=
n both my P2 and Sony PMW-F3 cameras,  I can use the same Matrox sequence s=
etting for both P2 MXF and Sony XDCAM EX native footage. No conversions or =
transcodes needed to put video into this sequence setting, just direct file=
 transfer and import.  In this "culture" as I'm going to call it, one would=
 never want to dumb down, transode or re-encode the native files. From this=
 native Matrox sequence setting, all imaginable export possibilities exist =
for me within the range of choices provided in Premiere, including several =
"accelerated" h.264 and native Matrox codec choices. My system is fast enou=
gh that Matrox acceleration doesn't matter. No gain there.

I still have all the options provided through dynamic linking to Encore, Af=
ter Effects and Audion. So as you guys tout the benefits of proxy or common=
 codecs, with whatever background rendering needs to occur, I'm still scrat=
ching my head thinking "why would anyone do that?"

So with your background rendering and options for mid-point conversions, wh=
at happens when your ultimate destination is h.264 for Blu-Ray, same for di=
tial signage, PLUS export for half-res (640x360) windows media and full-res=
 windows media for Powerpoint or presentaton embedding? See what I mean? Wh=
at's the point of any kind of "common codec" or mid-point conversions when =
ultimately you're going to export to multiple codecs? In my world, the nati=
ve timeline with support for native video becomes the "digital master" of s=
orts, and all the one-offs go out in any direction as 1st generation qualit=
y.

Anyway....guess I'd better shut up with the non-After Effects discussions. =
Thanks for the indulgence.

John

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