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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 almost feel like we're trying to reach across a cultural divide. "A mid-point conversion" is a concept I can't get my head around. Granted, I work as a single production entity. I don't share projects or move projects between computers. 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 never existed here. That said, maybe I DO work in a common codec of sorts.....better named 'a common sequence setting.' With the Matrox MXO2LE hardware and drivers, I use sequence settings that Matrox drivers provide. Since I shoot 720p 23.98 on both my P2 and Sony PMW-F3 cameras, I can use the same Matrox sequence setting 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 enough that Matrox acceleration doesn't matter. No gain there. I still have all the options provided through dynamic linking to Encore, After 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 scratching my head thinking "why would anyone do that?" So with your background rendering and options for mid-point conversions, what happens when your ultimate destination is h.264 for Blu-Ray, same for ditial signage, PLUS export for half-res (640x360) windows media and full-res windows media for Powerpoint or presentaton embedding? See what I mean? What'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 native timeline with support for native video becomes the "digital master" of sorts, and all the one-offs go out in any direction as 1st generation quality. Anyway....guess I'd better shut up with the non-After Effects discussions. Thanks for the indulgence. John This message, and any attachments, is intended only for the use of the addressee and may contain information that is privileged and confidential or otherwise exempt from disclosure under applicable law. If the reader of this e-mail is not the intended recipient, you are hereby notified that any unauthorized use, dissemination, distribution or reproduction of this message is prohibited. If you have received this communication in error, please notify the sender by return e-mail and delete this e-mail and any attachments from your system. |
