Different camera manufacturers will list in their technical specifications whether or not their camera formats contain SMTPE-compliant timecode. ProRes files wrapped in their native MOV container, or DNxHR files wrapped in MOV, MXF OP1a, or MXF OP-Atom, all contain timecode. Just like your clip has a video stream composed of still images in a particular sequence, and an audio stream composed of audio samples in a particular sequence, any professional format that contains SMPTE-compliant timecode has an ancillary timecode stream that assigns each frame a particular hour, minute, second, and frame, according to the SMPTE 12M-2 standard. Timecode is not just the particular count on your media that shows up in the Source Monitor. It’s important to just be familiar with which formats can and cannot contain timecode. This can be a bit confusing, because in many post-production apps themselves, the clips themselves can display a count that looks like timecode, even if it’s not actually timecode. The MP4 container, a very common container for H.264, is not even capable of containing timecode. Without timecode, a clip’s in and out points will be arbitrary. Without timecode, each clip’s in and out points within the sequence won’t make it into Resolve.
Without timecode, Resolve might be able to place the clips into the sequence at the correct sequence in and out points, but there’s no guarantee that the in and out points for the clips will be correct. Relinking the imported timeline from the XML to the online clips inside the Resolve projectīy default, without timecode, that timeline inside Resolve will have pretty much no way of identifying the proper in and out points for each clip in the timeline.
0 kommentar(er)
