All of this is visualized in the transcoding preview. The above image shows the combined efforts to burn in frame lines, metadata, and a logo in a proxy clip. Transcoding Preview: Visualize Results Immediately An image file (png/jpg) can be selected and positioned inside the clip.įurthermore, a detailed configuration of positioning, font types, font sizes, and transparencies is provided to meet the specific needs.Įxtending on the above, more caveats can be found in the details of the transcoding presets: For example, the H.264 bitrate calculator makes it easy for the user to deliver H.264 dailies in the intended quality and file size. It can be required to make sure that proxy clips are overlayed with some logo, for example, to clarify ownership of the clips. Additionally to this static clip information, also dynamic clip info like video TC, or even dynamic lens information, which can change throughout the clip, can be included. Very common clip name writing, but also slate information can be burned into the proxy clip. Six burn in fields can be selected around the image to make clip metadata visible. By allowing custom aspect ratios and different visualization options, like darkening the outside areas, the settings offer high flexibility to meet a variety of requirements. Here are some details about the burn in types:įrame line burn ins enable you to display the framed area in the proxy clips. ![]() There are three types of elements that can be burned into the image: Silverstack Lab offers detailed burn in options that make it easy to fulfill specific requests concerning information in the image, e.g., by post-production or the DP. It is a common requirement to make information about a clip visible in the image of its transcoded proxy clip. Detailed Burn In Options: Precise Visual References in Proxy Clips Let’s take a closer look at the detailed settings that are possible inside the presets. This high flexibility allows easy preparation and helps to avoid misconfiguration in more stressful situations. This means that if you want to transcode from ARRIRAW with 1/2 resolution and REDCODE RAW with 1/4 resolution to the same H.264 720p file, you can use a single transcoding preset.Īfter you’ve prepared all your transcoding presets and want to ensure you don’t accidentally change them, you can simply lock them. The transcoding presets also allow configuring raw decoding settings independent from the source. You can then import this file with its pre-determined presets to your Silverstack Lab project whenever you need it. For example, if you have to swap machines, you can prepare a project settings file that includes your presets. This makes it possible to create the presets in a calm environment before the hectic shooting day starts. You can even go as far as creating the transcoding presets before the actual start of the project. ![]() ![]() This gives the operator several advantages and especially makes prior preparation easier. The transcoding presets in Silverstack Lab can be created and configured completely independently of the source. High Flexibility & Clarity: Easy Preparation to Avoid Misconfigurations ![]() In the following, we will show some examples of how the transcoding presets in Silverstack Lab contribute to an easy dailies creation process. The transcoding presets in Silverstack Lab are designed to easily fulfil the various dailies requirements, which can come from successive production steps or the recipient’s personal preferences. The transcoding presets determine all important attributes of the transcoded clips, such as codec, resolution, and many more. In Silverstack Lab, we call these instructions “transcoding presets”. To convert digital film footage, every transcoding software requires two overall components: The source clips themselves and some kind of “instructions” about what you want the software to create from them during transcoding.
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