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Old 05-26-2016, 06:42 AM   #241
mrlimbic
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Quote:
Originally Posted by airon View Post
That's often AAC Encoder magic that introduces that kind of latency. Beware of shit-faced MP4 files. There are encoders that don't do this, but generally I'm moving on to free formats like MKV, Flac, Wavpack and Opus. Most folks have VLC these days so they can play that stuff.

Btw I use TEncoder which uses Mencoder and FFMPEG to produce ProRes files, either in a MOV or MKV container. I have no Adobe products and Quicktime is being thrown out of Windows right now, so that's the free software alternative to any commercial encoder. It's fast too.

Using Vordio on Premiere XML exports. Works great.
It is looking to me like FCPX exports mp4s that don't work well in REAPER. However, it seems to export m4v files that work fine. I usually use "Export for Apple Devices" and don't get a sync issue. I'll have to warn people about reference formats from different NLEs.
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Old 05-26-2016, 09:02 AM   #242
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Yeah, certain profiles do better.

Avidemux, a free very basic editor also has a bunch of exporters. One of those is x264 with high quality streaming profile. Those work pretty darn well, and they are likely a bunch of them in Final Cut Pro X.

Profiles tend to be 1.0 to 5.0 (iirc or are we beyond that), which support things like 60fps in 1080p, or even 2160p and so on.

That streaming profile from Avidemux, itself using FFMPEG iirc, does well in Reaper, though nowhere near as well as ProRes, MJPEG or PhotoJPEG.
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Old 05-26-2016, 09:16 AM   #243
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Using Vordio on Premiere XML exports. Works great.
Great. I haven't had many bug reports over last year for the Premiere support. The number of windows downloads seems to have picked up recently so they must be Premiere users as FCPX doesn't run on windows.

It surprises me that I got the Premiere support right almost on the first attempt. When I first tested it on a feature film, it banged through the whole lot without a single mistake! That is pretty unusual with coding. Only recent critical one was with 59.98 timelines out of sync.

I am curently adding AES31 output support. That way people can avoid OMF/AAF for Nuendo and Protools too. I think I can sneak some interesting metadata in that way too.

Have you used the color organization feature in the Premiere support? It will create parent tracks for each color used in the timeline. Helps split material up. X-raym also wrote a script to rename all the colors to dialogue/effects/etc and color the tracks in REAPER, same as look in Premiere.



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Old 05-26-2016, 09:44 AM   #244
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That's a great feature.

The stuff I get right now is one vo performance, music and effects, edited in Premiere so I can tweak the edits. Once I get larger projects, the colours would pay off a lot more.
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Old 05-26-2016, 07:50 PM   #245
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Quote:
Originally Posted by mrlimbic View Post
I am curently adding AES31 output support. That way people can avoid OMF/AAF for Nuendo and Protools too.
Hmm -U say "for Nuendo and Protools" ~ do U mean AES-31-2 audio media? (Ie the part of the AES-31 project that gave us:- BWF; bext chunks with timestamps- & meta data? Avid/Pt took all that.

But and a VERY big, is AES31-3 the part of the project that defined a good- great way to interchange edit data.

The truth is AES 31-3 (ADL) format, it's so much better than OMF/AAF, which is why:--
Avid ~ Digi had to do (to be fair to them) their not-nice ~ worst to .... to kill it.

Now.
For our very 1st version of AATranslator we used the 2008 spec vers, to write/read ADL interchange files.

Hindsight reality check:--
We it seems are only people who ever used the full 2008 AES 31-3 spec- all DAWs we have found that "support" ADL have their own 'interpretation' or possibly just are following a way older specification.
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Old 05-27-2016, 05:18 AM   #246
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Quote:
Originally Posted by John Lundsten View Post
Hmm -U say "for Nuendo and Protools" ~ do U mean AES-31-2 audio media? (Ie the part of the AES-31 project that gave us:- BWF; bext chunks with timestamps- & meta data? Avid/Pt took all that.

But and a VERY big, is AES31-3 the part of the project that defined a good- great way to interchange edit data.

The truth is AES 31-3 (ADL) format, it's so much better than OMF/AAF, which is why:--
Avid ~ Digi had to do (to be fair to them) their not-nice ~ worst to .... to kill it.

Now.
For our very 1st version of AATranslator we used the 2008 spec vers, to write/read ADL interchange files.

Hindsight reality check:--
We it seems are only people who ever used the full 2008 AES 31-3 spec- all DAWs we have found that "support" ADL have their own 'interpretation' or possibly just are following a way older specification.
Haha... Yes it seems Protools didn't actually support AES31-3 in the end... I assumed they did but I was wrong.. So yes maybe company policy to be overprotective of OMF/AAF. Personally, I never really want to touch OMF/AAF if I can avoid it.

I've noticed that Nuendo's OpenTL support is buggy as hell (it won't even re-import it's own exports without missing pieces!), but with AES31-3 it seems to behave well. StudioOne's OpenTL support seems to work for me but someone said it was mangling the file names for them in the more expensive 'pro' version.. Doh!

It looks like AES were planning more features after AES31-3 but it never happened. Item automation would have been nice.

The thing with dealing with NLEs & audio is that with very inconsistent material like location audio, item automation is often more convenient than track automation, especially on the first pass. I don't like having to substitute one for the other.

New NLEs like FCPX don't even have a concept of tracks. It's all about configurable items and metadata. REAPER items really are the best match for FCPX items for me. Can set which channels on an item to use easily, stick metadata in the item notes, tracks don't care about type of source material etc.
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