[Brent Marginet]

Those type of settings should be in your BIOS Settings.
To get into your BIOS there will be a key to hit like ESC, F2, or F10 as soon you boot the system.

I think HP Systems use F2 but you may have to look that up.
Just be careful in the BIOS settings not to change anything but this one setting.

\”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.\”

[Brent Marginet]

Cool, thanks for that info.
I didn’t know that about the RED Camera and I guess none of the DOP’s or Camera Assistants that I’ve worked with know that either.

One would still have to Re-Transcode if there’s any LUT or Colour applied to the Clips in Resolve that must be part of the dailies though.

Good to know and I will now research this for future projects.

Thanks

\”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.\”

[Brent Marginet]

Have you AMA Linked your clip and viewed it on your Broadcast Monitor, does this noise still show up when you do this.

If so have you tried doing a Video Mixdown of your Timeline.
Then Duplicate your sequence, drop the Video Mixdown into the new sequence and do the export from that one.

Hope this helps.

\”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.\”

[Brent Marginet]

Yes you definitely should have relinked only the master clips.
Like I had stated before the Master Clips are what all your Grouped and Multicam clips reference and relink back to themselves.

\”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.\”

[Brent Marginet]

You will have to relink to the master clips and not the grouped or multicam clips since they were all derived from the master clips. Hopefully you still have all the bins with the original master clips before they were grouped or multicamed.

[Nina Tenny] “All the metadata is the same (name, timecode, etc.) except for the higher bitrate.”

Is the “Tape” Column populated in the master clip bins and were both the DNxHD36 and 175x Transcoded from within the same App like say Resolve. I’ve even found link back issues in some cases if the two different Transcodes were rendered in a Resolve Project that is named differently.

\”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.\”

[Brent Marginet]

[Niclas Werres] “On set I’ll save all the media along with our proxy files (DNxHD115), which will be created in the camera itself for time purposes. After ensuring, that the naming convention is exactly the same as the R3D files I’ll copy the files in the Avid Media Files Folder, where I can sync it with the incoming audio files at the end of the day.”

The DNxHD 115 files that the Red Camera creates will be .mov files and not the .mxf OP-Atom Files that Avid requires in the numbered folders to build the Database Files. In that case you need to with AMA Link them or Transcode them with Resolve. If you are going to Transcode then I would use the original Red Media and make sure that your “Reel Column” is populated by using the Embedded Reel Metadata.

[Niclas Werres] “4. (optional) Can I see my waveform for the audio in the source monitor like in Premiere?”

Yes, but not in the viewer window like in Premiere. They will show up in the Timeline Window when you switch between Source/Timeline Viewer mode. In the attached screen shot click on the third Icon from the left and that will switch from the Timeline View to the Source View. You can also setup a shortcut key for this if you like. These Icons are in the bottom left corner of the Timeline Window.

\”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.\”

[Brent Marginet]

[Don Cobble] “A) performance Improvement and or B) Visual Quality Improvement buying the Intensity Pro 4K card if my media is only 1920 x 1080?
“

Resolve performance is really based on your CPU, GPU and RAM so you will be fine with the HDMI Intensity Card.
As for Visual quality you will not see any difference unless your are working with higher res Media.
If it were 4K Media you would not only need a 4K Card but also a 4K Monitor to really see a difference.

\”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.\”

[Brent Marginet]

There not the same frame rate, frame size or even codec so a relink/import/transcode will pretty much be useless.

[Mary Kerr] “Everything is the same (running time, timecode, etc.), except for these differences:

NAME (for example): “123.mov” (old) / “456.mp4″ (new)
FORMAT: 30i NTSC (old) / 1080p/23.98 (new)
CODEC: Unsupported i(PAL) (old) / H.264 (new)
IMAGE SIZE: 480×272 (old) / 1920×1080 (new)
V. RESOLUTION: DNxHD 80 (old) / DNxHD 36 (new) (I’m bringing it in at a lower resolution)”

How would the sub clips link back to a completely different T/C rate.
There will be references to T/C Frames in the Sub Clips that don’t even exist in the new Video file.
30i counts from frame 0 to 29 and 23.976p counts frame 0 to 23 so the timecode cannot possibly be the same.

I would say that unless someone else has some crazy work around that it would be time to start from scratch.

\”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.\”

[Brent Marginet]

Just found this.

https://forums.adobe.com/thread/1113078

\”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.\”

[Brent Marginet]

Kind of weird that the project would have been shot in true 24 and they would want a 23.976 BluRay.

Getting a proper 23.976fps Video from the True 24 Video would be done through a TeleCine Process. To get the best results your 24fps Video will need to be slowed down by 0.1%. This will change the Real Time Playback of the Video though. As a simple example, if it is exactly 1 hour long at 24fps it will take 1:00:03:14 to play it back at 23.976.

I’ve never tried AME to see if it can do a proper TeleCine conversion but it couldn’t hurt giving it a try. You will want to check for three things. Is the Converted Video 0.1% longer than the original, are there any repeat Frames and are there any blended Frames. The answer should be no to the lat two.

There are a few ways to do the Reverse Process some are hardware based like The Alchemist and possibly a Terranex can do it but don’t quote me on that. As far as software goes I can’t say I’ve researched this so start off by testing AME.

\”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.\”