[Brent Marginet]

What you have there is a Subtitle File and not a Closed Caption File.
As far as I can remember you need a .mcc CC file for Premiere.

Closed Caption text really doesn’t look all that good and the standard is a black background around white text.

\”MY MEDIA/PROJECT MOTTO: If you think three copies of your Media or Projects are enough. Take a moment to place a value on them and then maybe add two more.
Hard Drives are now stupidly cheap. A RE-SHOOT AND YOUR TIME AREN\’T.\”

[Brent Marginet]

Theres is no solution, OP-1a Exports should always have multiple mono tracks.
The standard for the XDCAM OP-1a’s is 8 Mono Tracks, so if you play it back through QT, VLC or any other player it will always playback mono.

The best thing to do is to AMA Link it in Avid or open it in Premiere and take a look at it there.
You should see 8 Mono Tracks of Audio that each have the the proper audio allocated to each one.

\”MY MEDIA/PROJECT MOTTO: If you think three copies of your Media or Projects are enough. Take a moment to place a value on them and then maybe add two more.
Hard Drives are now stupidly cheap. A RE-SHOOT AND YOUR TIME AREN\’T.\”

[Brent Marginet]

The easiest and most common solution to syncing audio to video is to always have a 2 Pop at the beginning and end of both the audio and video. You can then cut them out once everything is aligned and export your final delivery.

\”MY MEDIA/PROJECT MOTTO: If you think three copies of your Media or Projects are enough. Take a moment to place a value on them and then maybe add two more.
Hard Drives are now stupidly cheap. A RE-SHOOT AND YOUR TIME AREN\’T.\”

[Brent Marginet]

[Olivier Prudhomme] “This doesn’t sound like a good solution if the audio’s distorted then, or am I missing something/”

I agree, this is not an ideal solution but it is the most common way that 23.976 or 24fps video is converted to 25fps.
The Audio is not really distorted there is just a slight pitch shift and unless your A/Bing them it’s not that noticable.
The best hardware solution for conversion is a unit called the Alchemist but you’d have to send it to a conversion house and it would probably be quite expensive.

I also agree about the Frame Rate, it doesn’t make sense to convert it to 25fps if it’s just for the web.
Lastly if it is for the Web you would definitely want to stay Progressive.

\”MY MEDIA/PROJECT MOTTO: If you think three copies of your Media or Projects are enough. Take a moment to place a value on them and then maybe add two more.
Hard Drives are now stupidly cheap. A RE-SHOOT AND YOUR TIME AREN\’T.\”

[Brent Marginet]

If you change the Frame Rate to 25fps in the export window you will run into a couple issues.
The Video will be converted to 25p and not 50i which is usually what Broadcasters want.
Secondly there will be Blended Frames in the Output which will almost certainly fail QC.

One way that does work with some broadcasters is to export the video at 23.976.
Now take the completed video back into Premiere, Interpret it as 25fps and drop it into a 50i Timeline.
The video that gets exported will run 4.1666….% faster and be the same amount shorter.
The Audio will sound slightly chipmunky when compared to the original video.
Also drop it onto MediaInfo to make sure that it is indeed Interlaced.

\”MY MEDIA/PROJECT MOTTO: If you think three copies of your Media or Projects are enough. Take a moment to place a value on them and then maybe add two more.
Hard Drives are now stupidly cheap. A RE-SHOOT AND YOUR TIME AREN\’T.\”

[Brent Marginet]

[Chris Wright] “I’ve found C300 footage to be super annoying to work with. For one thing, that camera does “clip spanning” which means while filming, once the file reaches ~4GB in size, it starts a new file. So for a 30 minute clip, you might have 6-7 MXF files, even though this is only “one take” or “one clip.””

The Canon C300 and a few other models do, do clip spanning but you can and should always offload the cards with Canon’s XF Utility.
XF Utility allows you to combine Spanned Clips into one single Clip and also extracts the media off the Cards Properly.

\”MY MEDIA/PROJECT MOTTO: If you think three copies of your Media or Projects are enough. Take a moment to place a value on them and then maybe add two more.
Hard Drives are now stupidly cheap. A RE-SHOOT AND YOUR TIME AREN\’T.\”

[Brent Marginet]

I’m running it on a 2010 5,1 Mac Pro upgraded to 2 x 3.46ghz CPU’s, 64gb of Ram and a PC GTX-980Ti as well as a 2012 5,1 Mac Pro with 2 x 3.46ghz CPU’s, 128gb of RAM and a PC GTX-980Ti. I’m even running it on a 3,1 Mac Pro on EL Capitan with a 4gb GTX-680 even though it’s technically only certified for Sierra, though it is quite a bit slower for rendering and transcoding.

To use a PC Nvidia GPU there are two ways to do it.
First is to keep a GT-120 in the second slot and connect your monitors to that card if you don’t need that slot for something else. In my case all my slots are filled so I install the OS with the GT-120 installed, I install the Nvidia Drivers and after a reboot I go into the settings and turn on Screen Sharing. The reason for this is that the Nvidia Drivers need to be updated every time Apple releases a Security Update and when it reboots your screens won’t come up. I then Screen Share to that system, install the new drivers and after another reboot the monitors will come back up again. Just always go to MacVidCards to check to see if there are new Drivers available before doing the Security Update or you won’t be able to get your monitors up in the single PC Card setup like I have.

\”MY MEDIA/PROJECT MOTTO: If you think three copies of your Media or Projects are enough. Take a moment to place a value on them and then maybe add two more.
Hard Drives are now stupidly cheap. A RE-SHOOT AND YOUR TIME AREN\’T.\”

[Brent Marginet]

Yes I have done it many times and it works extremely well if the Resolve Project is setup properly right from the start.

I usually Transcode to the DNxHD-36 OP-ATOM MXF Codec for a Project that was shot at 23.976. Once I get the final sequence I Duplicate it and then remove all of the Audio, Lower Thirds and flatten the Timeline as much as possible. Now it’s just a matter of exporting an AAF from Avid and then importing it into Resolve. The key to getting accurate re-linking is to make sure the Conform Settings are setup properly in Resolve so that the Reel Column is populated properly. The Transcodes will then have the Reel Metadata embedded in them and it will show up in the Tape Column in Avid.

Attached is a screen shot of the Conform settings for Cameras that do not have embedded Reel/Tape Metadata but I always try Embedded first to see if it exists. If the main Cameras do then set it to Embedded and for the Cameras that don’t, select them, right click and select Clip Attributes. In the Dialogue box that comes up you can set those clips to Source Clip Filename.

Hope this helps.

\”MY MEDIA/PROJECT MOTTO: If you think three copies of your Media or Projects are enough. Take a moment to place a value on them and then maybe add two more.
Hard Drives are now stupidly cheap. A RE-SHOOT AND YOUR TIME AREN\’T.\”

[Brent Marginet]

I would say use DNX-175X even though the Camera originals are 8bit.
175X files are the same size as 175 files and if you use 175X for all your graphics and effects they will hold up better.

\”MY MEDIA/PROJECT MOTTO: If you think three copies of your Media or Projects are enough. Take a moment to place a value on them and then maybe add two more.
Hard Drives are now stupidly cheap. A RE-SHOOT AND YOUR TIME AREN\’T.\”

[Brent Marginet]

What Shane said about the CC being embedded or separate files like a .cap, .asc, .scc etc. is absolutely correct.

You do not however need to provide a Transcript with Timecode most services will do all the CC Formatting, Timing and so on.
The one thing you will need to do is provide a very accurate Transcript of your show.

\”MY MEDIA/PROJECT MOTTO: If you think three copies of your Media or Projects are enough. Take a moment to place a value on them and then maybe add two more.
Hard Drives are now stupidly cheap. A RE-SHOOT AND YOUR TIME AREN\’T.\”