- April 12, 2021 at 9:05 pm
I’m on Avid Media Composer 2018.12.11, using a MacBook pro on Mac OSX 10.14.6
We have re-cut our film that was previously mixed at a sound house this past fall. I’m delivering the new sound of the re-cut film to the same sound house.
The sound house is asking for “an additional timecode window burn which shows the source timecode location of each shot as it existed in the original cut we mixed to?”
Is this possible? I’ve played around with burn in options and can’t figure out how to execute this request.
Any help or tips would be greatly appreciated.
- April 12, 2021 at 9:22 pm
If you are re cutting a flattened version of your original output then no you don’t have the original source data.
But if you are cutting a sequence made up of the original source clips then yes the timecode generator allies you to specify what timecode is displayed as the record time or each track in the sequence.
- April 12, 2021 at 9:34 pm
It seems to me this would only be possible if the content of your new sequence is made up of an export or mix down of the original sequence. If you’ve just carried on cutting original clips or subclips, they’ll keep no reference to where they were in the original sequence. However, there are tools used in audio post to conform an ProTools session to a new cut. This is done usually by inputting an EDL of the old and new cut. The software does the rest. One such tool (there may be others); https://www.thecargocult.nz/products/matchbox
- April 12, 2021 at 9:35 pm
They want to see Source TC of where each shot originally existed that they cut to? Sounds like they need a Change Note to conform. If you have re-cut the film, the shots won’t be in their original location from your last turnover. Maybe I am not understanding what they are asking for?
- April 12, 2021 at 10:27 pm
The way I do this – which unfortunately requires preparation *before* recutting – is to add a new audio track with a offline clip of audio timecoded to match the sequence.
So if my sequence timecode starts at 01:00:00:00 then I will use the Log/Capture tool to log an 1-channel audio clip that starts at 01:00:00:00 and has enough duration to cover the whole sequence.
I put that logged clip (it’s offline, but timecode works fine) on A20 or whatever then do my edit as usual, making sure I have sync lock enabled on that track and that the edits I’m making take the audio timecode with it.
Another way to do the same thing in a simpler way, if you already have a mixed audio track back, is to duplicate the sequence, put the mixed audio on it, and edit with that. The mixed audio will serve as a timecode reference.
Either way, you end up with audio tracks that have timecode that reflects where they were in the original edit, which you can then use to do a burn-in. Or make an EDL. It’s a very useful reference generally when making changes to a “locked” edit.
- April 13, 2021 at 5:40 am
Great solution. I’ll keep that one in my back pocket.
- April 13, 2021 at 9:02 pm
Thanks all! Dylan, that is the solution I’m going with! We’ve been cutting with mixed DX stems and I’ll use that as the source burn-in.
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