Andrew Mckee
Forum Replies Created
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My recommendation would be to speed it up. This is what we often do for feature films shot at 24 when they are being delivered for tv in the UK. Duplicating a frame every second in order to keep the same duration can be very noticeable, especially during smooth camera movements. So yes bring your export into a 25fps project and then use source settings to interpret it, matching the project frame rate. Give a new 25fps file to your sound person for reference, they should have to speed their stems up to around 104% to match. I can’t remember the exact number.
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Hi Doron. I believe 2021 is only qualified for use on Big Sur. The last version I would recommend for High Sierra (I’m on an old MacPro too) is 2020.12.
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Great solution. I’ll keep that one in my back pocket.
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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
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Glad you got it working Christian. I know Avid can feel like it’s complicated when starting it out, but I think the reason for that is it wants to offer you control and precision. Like an F1 car. If most people tried to drive one, they’d probably be slower than they are in a regular car at first. The method of assigning the LTC to an AUX TC track, rather than the main TC track, makes perfect sense in the context of a post workflow, where you never want to strip any metadata away.
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Hi Christian. It’s been a little while since I’ve done it, but Media Composer does have the ability to read LTC timecode and then use it to sync. With video clips selected that have LTC timecode on one of the audio channels, go to clip and choose ‘Read Audio Timecode’. Then your LTC timecode will be applied as an auxiliary timecode to your clips which can then be used to sync. You may then have to copy the timecode from the audio clips onto their auxiliary timecode metadata column before syncing. You do that by selecting the start timecode row in a bin (which only contains your audio) and duplicating it (ctrl/cmd-d) onto the aux timecode. Now you can put the audio and video in a bin together and use autosync via aux timecode.
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Thanks for that. I knew something was a bit weird. I’ve got to the bottom of it this morning and thankfully it was nothing to do with the camera. Rather than using FCP log and transfer to rewrap the mxfs to movs, they were using a piece of software called Borosoft MXF converter to recode to ProRes. This software was causing the aliasing either because of some inherent problem or because of the way they had set it up, I’m not sure which. I’ve moved them over to using log and transfer and all the problems have gone.
Andrew McKee
Editor/Colourist
Avid Certified Instructor – MC6
Apple Certified Trainer – FCPX
Pixelwizard.net
Futureworks.co.uk -
Resolve uses the full spectrum of colours in the RGB scale and (in the viewer) shows you exactly that. When FCP, however, shows you a piece of video which only uses up the broadcast legal range of colours and brightness values it expands them them out to the full RGB scale in the viewer. Broadcast black and white are slightly grey (16 and 235 luma on an 8 bit scale), but in the FCP viewer you see them as black and white. In Resolve you have the option to scale down the video from the full scale to the broadcast scale whilst it outputs to a monitor, or render out to QT files. It basically does what the LUT you have applied does so there is no need for the LUT. On render just choose the option for legally scaled video and it will do it automatically. When you get that into FCP it will look correct in the viewer but any signal you send out to tape or to your monitor or render out from FCP will be legally scaled video.
This does not however necessarily mean it will be broadcast legal. Ideally for broadcast you should have a scope monitoring the scaled image coming out of an I/O box so that you can check everything is legal. But if you need to make something legal without that, you could just add the broadcast safe filter when you get back to FCP.
Andrew McKee
Editor/Colourist
Avid Certified Instructor – MC6
Apple Certified Trainer – FCPX
Pixelwizard.net
Futureworks.co.uk -
I think they do sell 5.5. At least, they definitely offer the trial because they know not everyone has 64bit machines.
Andy
Andrew McKee
Editor/Colourist
Avid Certified Instructor – MC6
Apple Certified Trainer – FCPX
Pixelwizard.net
Futureworks.co.uk -
Possibly you want to use AutoSync rather than group (which is designed for multicamera editing) to combine the video with the 2 audio sources? Then you will have a subclip containing all the clips on different tracks (including the audio from the video clip if you select that option in the AutoSync dialogue).
Andy
Andrew McKee
Editor/Colourist
Avid Certified Instructor – MC6
Apple Certified Trainer – FCPX
Pixelwizard.net
Futureworks.co.uk