Brent Marginet
Forum Replies Created
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4K-MP4 from a Camera like that is going to be highly compressed and therefore almost impossible to playback. There would be two ways you could go to solve your playback issues.
You could use a Proxy Workflow or Transcode all of your footage to an Intra Frame Codec like ProRes. The biggest problem with Transcoding all of the Footage is the total size of all the Transcoded Footage could be 10 or more times larger than the original footage.
\”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.\”
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You’re making yourself clear but your not listening to what Greg is saying.
If you need to reduce the amount of footage your going to give to the colourist then all he needs is the footage that you used in the timeline generally with 12 to 24 Frame handles. This is called CONSOLIDATION and is a feature that all NLE’s 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.\”
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Hey Joseph I searched a bit and can’t seem to find a definitive way to do the Kext Hack your talking about.
Would you by any chance have a link or the info required for me to do the Kext Mods myself.
Thanks
\”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.\”
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Was your Audio Recorded on a separate Audio Recorder on in Camera.
And really what was the reasoning behind shooting the night footage at 15fps.
That really makes no sense and is a recipe for disaster.\”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.\”
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I haven’t tried this yet but Resolver Tools has a Subtile Tool for Resolve called Sub Simple. You can do a conversion from an SRT file to XML for Resolve Online or purchase Sub Simple for $29.
Maybe this will do the trick for you. I really must take the time to try it out myself one of these days. Please let me know how it works out for you.
\”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.\”
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Just for the heck of it upgrade to 8.8.5.
I found a few fairly serious bugs in 8.8.2, 8.8.3 and 8.8.4 that weren’t fixed till 8.8.5.
\”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.\”
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Avid has a feature in the Source Settings Dialgue to Interpret the Footage at the frame rate you would like. You can then export the new clips with the audio intact and in sync. 23.976 and 24fps footage and audio will be sped up and 30fps footage and audio will be slowed down though.
The other option is to use Resolve to change the Clip Attributes in a 25fps Project. When asked to change the Frame Rate of the Project on import just click on don’t change. There’s both a plus and minus to doing it this way though. As with Avid 23.976 and 24fps footage will be sped up and 30fps footage will be slowed down but you will lose the audio. Because both methods change the speed of the footage you get a frame for fame conversion with no frame blending or artifacting that would make it look terrible. I then pass on to the editors the percentage increase or decrease required to bring the speed close to real time if they need to.
I’ve used both to create new master clips but I prefer Resolve when I don’t need the Audio because its transcodes are so much faster.
In one case I took the audio into ProTools and did a Sample Rate Conversion on it to the new frame rate. I had to convert an entire movie from 23.976 to 24p and at that time Avid didn’t have the Interpret Footage feature in the Source Settings Dialoge Box. We made sure that both the Audio and Video had a two pop at the beginning and end so I could align them and check for any drift. Much to my surprise I was able to build a whole new timeline in a 24p Resolve Project with the Video Clip Attributes set to 24 and the SRC’d Audio was out by less than 1/8th of a frame at the end. It passed QC so that was the icing on the cake.
\”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.\”
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If you do run into the situation where the Audio is drifting out of sync with the Video this is what I have done in the past. Use ProTools to do a Sample Rate Conversion from 24 to 23.976fps.
The nice thing about doing it with PT is that it creates new files in it’s Audio Folder so none of the original files are modified in any way. Secondly you can do a batch conversion. The one real negative to this process is that the T/C will be offset from the original T/C.
\”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.\”
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One last thing I must add are the “Conform” Options in Resolve. You need to make sure that they are setup properly so that the Reel/Tape Column is populated properly in the Trancoded Media. This will allow accurate links back to the original camera media when “Round Tripping” back to Resolve for the Colour Correction portion of the Project. Even if a Resolve Round Trip is not going to be done, set this up anyway. The Timecode and Reel/Tape Metadata are the two most important pieces of Metadata used when linking back to the Source Media in every NLE that exists.
If I remember on Monday I will post a screen grab of the most common way this is done.
\”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.\”
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I second everything that Shane has said and…
What you really need to do is to transcode all the Video to OP-Atom DNxHD in Resolve and then Resync everything in Avid. If you change the timecode of the Audio and transcode from Resolve with Synced Audio the Video Editor(s) won’t care but the Audio editor(s) will have major issues with this.
After the Video edit is done the Audio Editor(s) will need to link back to the original Audio in many cases and if you adopt your suggested workflow they won’t be able to do that. First, you really should never change the timecode that’s embedded in any file and second if you transcode the clips with the synced audio any reference to the original audio will be lost. Linking back will be a nightmare or impossible for the Audio Editors. I’ve worked with FCP-7, X, Pemiere Pro and Avid but never have I synced in a different NLE than the edit is going to be done with, that makes no sense whatsoever.
Not using timecode is a massive error on everyone’s part on a project like yours but if that’s the way it’s going to be then the only other option is to send a mono audio mix to each camera. Even if the cameras do not have T/C Inputs, products like Tentacle that send T/C to an audio channel are cheap enough to buy or rent and will save everyone from days of frustration, delays and money in the end. If you go the Audio route then you can use the Sync by Audio Waveform feature every NLE now supports and again save, save, save.
\”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.\”