C200: C200 transcoding options 2023

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rob norton

Veteran
I own a c200 and regularly need to deliver 10 bit, 1080p files. In the past I've hired c70/300III/500II, as well as used recorders like BM video assist/atomos ninja Vs.

It just dawned on me that since I recently bought a 16" MBP, which seems like it can handle anything I throw at it, instead of my solutions mentioned above, I think I should just be using the computer for some lighting fast transcoding. I have 8x 256GB cfast 2.0 cards, which gives 4.5 hours of CRL 4096x2160 25p, so I should be covered since I've shot more than this in a single shoot day for these particular projects.

Question - is Cinema Raw Development the best option (I'd like to avoid adobe media encoder if possible)?

https://www.youtube.com/watch?v=vYD5N44yl80
https://www.youtube.com/watch?v=e5Md-2dR1pE

Just checking if there were any other methods all these years later.

I like discovering examples of how advances in computer tech can help with production - no recorder = happy shooting experience, no rentals = less time wasted.

Thanks.
 
Cinema Raw Development was once brutally slow (like more than real time slow), but I haven't kept up with any updates.

I use FCP as it's the easiest, fastest on a Mac. And actually most of the time even straight to 4K H.264 because CRL holds up that well even as H.264 (but I also use ProRes or ProRes LT when I think it would be more necessary).

Try Resolve and CRD and see how they compare if you don't use FCP (which works with CRL natively if you by any chance didn't know).
 
I normally edit the CRL clips natively, but for this I upload everything and am done with it.

In resolve there's the option to export individual clips to various flavours of prores. For this particular application, is exporting the same as transcoding? As in, even if for all intents and purposes they're the same for most people, if it's simply to create 10 bit 1080p clips from CRL clips, would a dedicated editor still have a valid reason for requiring transcoding over exporting, or they're literally the exact same so it wouldn't matter?
 
So I think, technically, the process in your case when going for Cinema RAW Light to ProRes would be considered encoding, but most people use the word transcoding, which usually applies to converting formats between already compressed files (even lightly compressed, and I guess it depends on who you ask).

But all of these procedures are exports, some form of exporting. The new data, the new files have to go somewhere; whether they are being exported directly to a location chosen by the user or exported in the background to a hidden location inside of a NLE library/database/etc (like FCP does when transcoding footage).

HOWEVER, some software does offer more settings and more control of the export if you really need to fine-tune the master.

So, for example in my case, exporting straight from FCP vs. sending it to Compressor from FCP and exporting it from there could make enough of a difference for some formats where you can tweak more parameters in Compressor that you can't in FCP (but not ProRes which has fixed data and greyed out settings for most of it besides audio).

Now, would anyone see the difference, probably not...but if you were, for example, exporting to HEVC you could change the bitrate to 10-bit 4:2:2 in Compressor, Rec. 2020 color space, the encoder speed to slow for higher-quality, multi-pass, framereordering...settings that are likely all OFF with the default export in FCP (or at least there is no way to tell as far as I'm concerned).

So having the option for these kinds of changes in a more dedicated transcoder/encoder/exporter may or may not make a difference.

___

With all of that said, would anyone say anything about the CRL --> ProRes exporting from Resolve, no, absolutely not, IMO.
 
Just to add something about Compressor...you could have custom Compressor settings inside FCP so that's that...but, yeah, I think all, most of today's high-quality footage has a lot of flexibility.

Definitely a lifetime away from standard-definition!
 
Thanks. I'll do some tests and see how fast it really is. If exporting all individual clips from a full shoot day doesn't actually take that long then that's potentially huge in terms of less explaining the 10 bit thing to people. I know this is nothing new but it wasn't an option before getting the MBP.
 
I once exported a ton of CRL from FCP straight to ProRes LT on a first gen M1 and it was doable, few hours.

It sounds like you have a newer and more powerful computer so I think you'll be surprised (even though I don't know how much time Resolve would take).

I guess they can't just edit the 4K CRL?
 
Because they're accepting footage from all over the world and only via online (no posting), their model is faster uploads rather than more resolution (doubt they'd even accept 4k). Which is fine with me, even using the MASV desktop app, it's slow enough.
 
there is no good in any of this; using a recorder, extra time using software for exporting, uploading dozens of files.

lol
 
my computer has been going overnight.. unstuffing r6 h265.

As I always ask about everything software related..

Why not Resolve? (export clips, not export clip)
 
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I think that's what I'll do Sam, I am 100% living in resolve now - have all unedited footage on the timeline then export everything as individual clips.

I might even do the slight reframe for them, rather than adding a note to adjust for the 4K DCI aspect ratio.
 
No, it looks good though, thanks for sharing. What's the difference between editready and exporting individual clips in resolve? I wasn't thinking about metadata, which I don't think is too important this time but it'll be good to know the exact differences.
 
rob norton said:
No, it looks good though, thanks for sharing. What's the difference between editready and exporting individual clips in resolve? I wasn't thinking about metadata, which I don't think is too important this time but it'll be good to know the exact differences.
Click to expand...

Have a look here, I think EditReady might suit your needs

 
I don't know if anyone here can really answer that in depth besides the people who create these applications and have a deep understanding for video formats, codecs - but all of these technologies work in their own way to create data. And supposedly there are quality-control standards with ProRes when you license it from Apple so the end-result is likely very similar, even indistinguishable from the same ProRes out of Resolve/FCP/etc.

Best way - per usual - is to export a clip out of anything and everything you can and see with your own eyes if you can tell a difference between any of them.

At the end of the day, they are just files...can't be that difficult to mess something up, ha...and EditReady is pretty popular (and there are dozens of other options, many from India, etc. that also do a good job).
 
I had Edit Ready, I cannot remember why... FCP7 non reading early sony files - whatever. ??

I beleive Edit Ready to be competent and good

But see no place for it in a Resolve world.

Especially where one might for example be doing a quick scale change from canon 17:9 to client 16:9 - such stunts are effortless if you have any competence in Resolve.
 
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