Brent Marginet
Forum Replies Created
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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.\”
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Standard Def Video should be Lower First not Upper, that may be causing the issue.
\”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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Great, thats why I asked if you were on a Mac or PC.
OS X and those damned Ghost Folders can be a real pain sometimes.\”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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Mac or PC.
\”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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VLC doesn’t decode embedded Ancillary CC only Subtitles.
\”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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Quicktime cannot playback Broadcast Compliant Closed Captioning only Subtitles and that’s only available in QT-7. There’s some kind of text type CC that will playback in QT but I haven’t done that in so many years so I can’t remember what they are anymore because it’s not accepted by any Broadcaster or Distributor.
Closed Captioning is not burned into the Video, it’s Ancillary Data in the Case of CEA-608/708 that’s embedded in the QT File. You need to use something like Telestream Switch or bring them back into Premiere or Avid and try to get it to decode them. I’m not even sure if Premiere can Embed Broadcast compliant CC into QT Files. I always use Mac Caption to do that the few time that I’ve had to. Most Broadcasters want 50mb – OP-1a – MXF Files with embedded CC.
\”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 one last thing. Not all Audio Engineers want Polyphonic M files and there are a lot of Audio guys that have no idea how to setup there recorders to create them. Many of them don’t have a clue what your talking about when you ask for Polyphonic M Files.
I just simply ask for the recorder to be set to record individual files for each track of audio and explain about the files that have _1, _2, _3 etc. in there filename if they give me the deer in the headlights look.
\”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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The MXF’s that Avid creates when it imports audio are identical to the original Wave Files if your project settings are correct with a couple of exceptions. That is if you have 24 Bit Audio Files and your Project is set for 24 Bit Audio then the main difference is they are now in an MXF Wrapper instead of a Wave Wrapper. The Exceptions are that Avid splits polyphonic files into multiple monophonic files. An 8 channel polyphonic file will be split into 8 monophonic files. Secondly the Avid OP-Atom MXF Files are usually slightly larger than the original file(s) because Avid adds some extra MetaData to them, other than that there is no quality loss at all as far as I’ve been told.
Yes definitely send all of the original files because most Audio Editors will want or demand they get them as well. There’s a way in PT for them to expand the Audio Tracks and Link back to the Original Files if they need to. I wish I could explain this properly but I just don’t know enough about PT to do that. Our Audio Engineer showed me how it’s done and what the technique is called one day awhile back but for the life of me I can’t remember any of it.
You probably already know this but another bit of info is the one thing that only Avid can do with Audio Files and that is the “Auto Detect Broadcast Wave Monophonic Groups”. So this is a bit confusing but there are PolyPhonic P and PolyPhonic M files. A Polyphonic P file is a single file that can contain multiple tracks of Audio while Polyphonic M is a group of Monophonic files that make up a Polyphonic Clip. If the filenames end in _1, _2, _3 etc. then they are a Polyphonic M Group. If the “Auto Detect Broadcast Wave Monophonic Groups” is ticked Avid will import them as a single Polyphonic Clip. So say 70/1_1.wav, 70/1_2.wav, 70/1_5.wav and 70/1_7 are imported with this box ticked then a single Master Clip named 70/1 will import that has Audio on Tracks 1, 2, 5 and 7.
Our Audio Engineer insists that all on set Audio is Recorded as Polyphonic M Groups. There are a few reasons for this. Firstly if a Polyphonic P file is corrupt then you lose the entire Audio Clip but with Polyphonic M Groups you would generally at most have one corrupt file so all the other channels can be salvaged. Second is for the same reason why Avid splits Polyphonic P files into multiple Monophonic files and that is because it’s easier to playback. Avid and PT only need to playback the Audio Files that are cut into the timeline and do not have to demultiplex a bunch of Poly P files on the fly while playing back the Video. One would think that demultiplexing audio files wouldn’t be all that taxing on our multi GHZ computers but when there are hundreds or thousands of Audio Files in a Sequence or PT Session then it can make a fair bit of a difference. Lastly but not as important is to keep the size of the Audio Files folder down in PT by not including unused Audio Files.
Hope this makes sense and I apologize for making you read a novel.
\”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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It astounds me that with all the technology we have today that anything to do with “plain fricking text” is always so damned difficult to deal with. It’s always CC and Subtile Files that everyone is struggling with, including myself. I’ve pretty much given up trying to understand regular expressions and how to get them to do what I want for other types of text file work too. Anyway I digress.
Has anyone tried SUB Simple by Resolver. I know it’s not for Avid but I’ve been meaning to try the online version and if it works I’d pay the $29 to do Subtitles in Resolve. Especially if it’s better than the Avid and Premiere Subtitling Tools.
\”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’ve used my Nitris DX with UHD and 4K Projects, it just down converts the output to 1080.
Of course the only issue is that you would need a monitor that can squeeze the Video to the correct aspect ratio in frame sizes other than UHD or you will be viewing your video slightly stretched.
\”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.\”