Brent Marginet
Forum Replies Created
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Committing to Multicam Edits may give you no issues within Avid but don’t expect any round trips to work. You will likely still have issues relinking to the original media because the all important Tape Name Column is not setup properly. When Avid gets confused it may link to any clips with the same TC and Tape Name and totally ignore any other metadata. Since you have the same Tape Name in dozens or even hundreds of clips it may pick the first one it finds with the same TC. Again the Tape Name and TC are the first two pieces of metadata that NLE’s use for rlinking. I can’t say for sure because someone showed the importance of Tape Names when I first started and I’ve always made sure they are correct before proceeding on any project.
I’ve never had an issue with the Commit to Multicam Edits feature ever and the main reason for that is that I’ve always worked with media that has the Tape Names properly setup from the get go.
\”MY MEDIA/PROJECT MOTO: If you think three copies of your media or project 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.\” -
Just export them at there native 1920×1080.
The iPad app will properly scale them in a letterbox playback.There will be a black bar on the top and bottom of the video because they are 16:9 or 1.78:1 and the iPad has a 4:3 or 1.33… aspect ratio display. If you try to make them playback full screen then you will have to stretch the horizontal and vertical and then crop off the left and right edges which will chop off a ton of your video. The other option is to stretch just the horizontal but then everything will look long and skinny and just plain terrible.
\”MY MEDIA/PROJECT MOTO: If you think three copies of your media or project 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.\” -
So I gave Avid First a test run on my MacBook Pro and I have to say it’s complete garbage.
It exports to Vimeo, YouTube and either an H.264 or a DNxHD file.
The DNxHD file is useless because it changes the Audio Sample Rate to 44.1khz and the H.264 went through four passes before completing. I was exporting a 90 Minute Video and it took almost 5 hours to export the H.264.All I can say is, CRAP, CRAP, CRAP, PIECE OF CRAP.
\”MY MEDIA/PROJECT MOTO: If you think three copies of your media or project 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.\” -
After reading this again you have me confused.
You say your sequence settings are XDCAM EX 720p24 but the screen shot shows a source of 25fps and an output of 23.976. As mentioned in a later post why would you be exporting to 23.976 when 25fps is the source but also what really is your source frame rate. Is it 24 or 25fps.
\”MY MEDIA/PROJECT MOTO: If you think three copies of your media or project 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.\” -
Yes if I reverse my source patching so that Clip 1 is Right and Clip 2 is Left then the audio tracks switch to the correct allocations. Problem is that this is not only incorrect patching but the A2 and A1 labels on Track 1 and 2 don’t change.
What’s even weirder is that not all Video Files end up with reversed Audio Allocations. The sample in the screen capture is easy to visually see the reversed tracks because of the audio that proceeds the tone but not all Videos have this.
I can’t be quessing which is correct for each clip especially when it starts doing this with 5.1 Videos. The Centre and LFE tracks are easy to figure out but not the Left, Right, Left Surround or Right Surround Tracks.
\”MY MEDIA/PROJECT MOTO: If you think three copies of your media or project 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.\” -
[Tero Ahlfors] “Why are you exporting as 23,976 when your sequence is 25fps?”
Very good point that will definitely increase the encode time.
Also 2 pass encoding is turned on which will increase the encode time considerably.
In most cases there’s no need to use a 2 pass encode.\”MY MEDIA/PROJECT MOTO: If you think three copies of your media or project 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.\” -
[Ryan Dundas] “Are you saying that each individual clip needs its own tape name?”
Yes in the Digital world each clip must have a different Tape Name.
The Tape Name should be identical to the original filename if the media does not have an embedded Tape Name in it’s Metadata.[Ryan Dundas] “Also why can’t I just have Avid look at the source file name when relinking? Are you saying that info is going to be lost after the footage is used in the multigroup?”
The instant you auto sync, create a grouped clip or a multi group clip the source filename becomes irrelevant because you now have multiple source filenames. One for each camera and one for the double system audio if you are using a separate field recorder. How can Avid possibly populate one column with multiple filenames. Pull up some of the columns and note how they become empty when these groups are made. It has always maintained the Tape Names somehow by referencing back to the master clips though.
The name column is also changed in these cases to “name.Sync.01”, “name.Grp.01” or “Mutligroup.01” and then usually changed by the user to Scene/Take or whatever naming convention your using. So in the end Avid and all NLE’s rely very heavily on the Tape/Reel Name Column and TC of course for linking back to the original media. If someone has a work around or another suggestion I’m more than willing to test it out but I’ve always used the Tape/Reel Columns for relinking and never ran into issues if they are properly setup from the get go.
I would say that the easiest way to create the OP-Atom Proxy Media and get the proper Tape/Reel Names would be to Transcode it in Resolve. Just set the Conform options in the Master Project Settings as per the attached screen shot first.
\”MY MEDIA/PROJECT MOTO: If you think three copies of your media or project 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.\” -
That brings up a good point and leads me to ask a question about reinterpreting footage.
When I type in 23.976 into the “Assume this frame rate:” box PP changes it to 23.98 which is not only wrong but further confuses anyone who thinks 23.98 is correct. I’m not that familiar with After Effects but I do recall many times when I would receive stuff from an FX guy who had typed in 23.98 instead of 23.976 before rendering. Of course this not only caused issues with the clips but in some cases stupid arguments because they were either to lazy to redo it or to type 23.976 in the first place.
23.976 is correct and 23.98 is wrong so why the hell is there even an option to enter it in the first place. We need every piece of software that exists to properly show 23.976 as 23.976 and not as 23.98 so this confusion can be stopped.
Man I hope that the promises to get rid of 23.976, 29.97, 59.94 and slow Pal come true in the new Rec 2020 Standard.
\”MY MEDIA/PROJECT MOTO: If you think three copies of your media or project 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.\” -
It changes the in and out points because for some reason it changes the start TC of the Clip and also because the TC is now at a different rate than the original clips TC was. In some cases I’ve even seen it change the start TC of the original media files when the interpretation is applied to a master clip.
No NLE should ever modify the original Media for any reason.
As far as I know you should only interpret the master clips and not the sub clips but I may be completely wrong on this one.
\”MY MEDIA/PROJECT MOTO: If you think three copies of your media or project 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.\” -
I tested out an old method that may work for you, though it may be to late if you’ve already started re-logging the new footage. Hopefully you kept the old Bins with the old Master Clips in them and then you can give this a try. You may also be able to pull the old bins from Avids Attic if you did toss all of the original Master Clips.
Note: Some of the Menu Items will not be in the same place in 8.4.5 as they are in 8.8.5 which is what I’m using.
1- Select all of the clips that you want to relink.
2- Right Click, go to Modify and then Click on Unlink Media…
3- Select all the clips unless there are differing numbers of audio tracks on the new clips.
You must select clips that will have the same number of Audio Tracks for this to work.
4- Right Click, go to Modify and click on Modify Clip…
5- A Dialogue box will pop up and select Set Tracks.
6- Add Check Marks that correspond to the number of Audio Tracks that the new clips will have and click OK.
7- Right Click on these same clips again and select Relink…
8- In the Relink Dialogue Box uncheck Relink only to media from the current project and click OK.This may now relink to the new clips with the extra Audio Tracks if all goes well.
\”MY MEDIA/PROJECT MOTO: If you think three copies of your media or project 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.\”
