Content-Type: text/plain; charset=us-ascii
Mime-Version: 1.0 (Apple Message framework v1084)
Subject: Re: [AE] Love You Adobe
From: James Culbertson <albion@speakeasy.net>
In-Reply-To: <list-4620825@media-motion.tv>
Date: Wed, 8 Feb 2012 18:00:17 -0800
Content-Transfer-Encoding: quoted-printable
Message-Id: <A8894367-D0BA-4495-AF2B-76D9EA24EA34@speakeasy.net>
References: <list-4620825@media-motion.tv>
To: "After Effects Mail List" <AE-List@media-motion.tv>

You can choose what to transcode (later after ingest) as well. One clip =
or all. So, if only some of the clips are sluggish due to their codec =
and  you can transcode those only. Anyway, this is pretty hypothetical =
for me since I have stopped transcoding on ingest.

But really it comes down to how you work I suppose and your personal =
preference, just like the choice between Mac and PC...

James


On Feb 8, 2012, at 5:54 PM, John Morgan wrote:

> 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.
>=20
> 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. =46rom 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.
>=20
> 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?"
>=20
> 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.
>=20
> Anyway....guess I'd better shut up with the non-After Effects =
discussions. Thanks for the indulgence.
>=20
> John
>=20
> 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.
> +---End of message---+
> To unsubscribe send any message to <ae-list-off@media-motion.tv>
>=20