Clement Hobbs
Forum Replies Created
-
You might also consider moving the footage from 25 to 23.98fps as a first step. Once you’re there, add pulldown to end up with a 1080i 29.97 clip (if your final timeline will be 1080i based).
I’m not sure how this would look (25->24) using the Avid since I’ve always changed frame rates outside of MC.
Good luck!
-
Hi Len,
We typically discuss the exact timeline layout with the post audio team to ensure the file they receive matches their specs (track layout, handles, etc.). A test file is often sent ahead of time to make sure we’re all on the same page. Each series can be different for us, so this gets done each and every time we start a new show.
With regards to audio fx in the timeline, we will often supply a track with the original audio along with a track with the affected audio, then it’s in their camp and they can choose what they’d like to use.
We also make sure we remove any add edits that might have found their way into the audio fx segments prior to exporting to AAF as this can create mismatch errors in the resulting timeline once it’s re-imported from the AAF (using MC 7.0.2).
Clem
-
When I had problems like this in the past, I would typically try an audio only export – does it work? if so, then a video only export – if this fails then I know it’s a video issue. Then split the timeline in two and try either half, or try v1 only, etc. you get the picture. This would often narrow down the problem to a much smaller and reasonable length of timeline where I could find the issue, fix and be on my way.
The mixdown suggestions are perfect as well, but I had to resort to the above method when mixdowns would fail.
Good luck
-
Hi Ricky,
Given that you are shooting at 720p 5994 then you’ve made the right choice of file to send them imo as it keeps things relatively simple. That is of course if the Avid can make the file correctly. MC will export 8 channels of audio with the MXF OP1a setting.
A ProRes master is pretty simple to create, but then your source footage is not at 23.98, the frame rate they request in that format.
Our audio facility uses an LM100 from Dolby to measure loudness, we mix everything to ITU-R BS. 1770-2 specs over a floating 3 second window and that covers us. Without loudness monitoring it’ll be extremely challenging to get it accepted. You may want an audio facility to have a look at an AAF file of your finished product and adjust to make sure you’re ok. If you Google ‘loudness monitoring in Media Composer’ you’ll find several products that can do this, so you might be able to cover it all.
-
Hi Ricky,
Your best bet is to send a test file for them to check. There are so many variables that it’s the only 100% sure way of nailing it when your edit is complete. We do this regularly prior to series delivery, once the encode profile is locked down we’re good to go and the broadcasters are receptive to using test files to ensure everything is ok.
To be clear, we’re not looking at audio or video levels with the test files. We’re testing for container, video and audio essence compliance with their ingest systems, so the structure of the file itself. This can be done with production material that is not yet final.On the surface, it looks as if Avid will export this format. Curiously your specs do not mention audio at all.
I exported a quick file from MC7 using a 720p 5994 project and noticed in VideoSpec that the PAR flag is left as ‘undefined’. Hard to say how hard a line the broadcaster will tow in this area. Or is it simply Videospec that is reading the file incorrectly … as I said, many variables.
In the era of file delivery (read as wild west), having a dedicated transcoding application is a must, or you outsource it. However significant amounts of money can be saved by doing it in house if you have the patience.
Clem
-
I think archiving on spinning discs is the issue, not necessarily the codec. I see no reason why you could not archive the H264 media as you have been but to LTO which is designed for long term storage.
Regardless of codec, a hard drive problem can corrupt media. So your options of H264 vs Prores does not solve the weak point in your archiving process.
-
You may want to consider upconverting on ingest through a Terranex. You end up with a very good quality HD file that can be used for SD needs as well.
If you have any 24fps originated material that now contains pulldown, try to remove it on ingest to create full progressive frames in your master file. If you can’t get this done on ingest, you can do it after through software like Tachyon by Cinnafilm which does an excellent job with messy cadence issues.
Are you planning on using these files as masters for digital distribution?
-
If you’re that tight, then I’d stay at 23.98 for the tape out to Sr which guarantees a copy on tape that is correct.
Once you pass QC (Fri night/Sat AM) simply crossconvert the tape over to 59.94 either in house or at a lab with two decks. Just make sure you check the one hour mark to make sure it’s clean. I can’t remember if it will automatically be a clean frame or not when running the deck from say a 57:30:00 tape start. You may need to do a separate edit at the one hour mark to make sure you’ve got a 100% clean solid frame there.
If you only have the one deck, you could crossconvert from your QC’d 23.98 master to 59.94 and ingest back into the Avid (in a 59.94 project), then out from the Avid at 59.94 to a new tape. Long but it works.
-
Job’s question is quite important.
As an example, I’ve exported:
DNxHD as 709 and the QTs read 16-235 in AE
ProRes as 709 the QTs read 0-255 in AE (regardless of export gamma correction setting auto/none)If I bring both of those files back into the Avid as 709 sources, they match. All this to say the codec you choose on export can affect the results in ways you weren’t expecting.
I never create any delivery files out of the Avid unless the required specs match the native format. Much better to use dedicated transcoders.
-
When trying to create BITC I’ve found that Compressor dislikes the DNxHD codec when sourcing the timecode within an Avid exported QT. First frame looks fine, then the BG image fades to almost black and doesn’t move. I’ve had this happen with Same as Source and Ref exports.
If they’re on a Mac, I’d export as Prores and then create the mpeg file though Compressor. Not as fast as a ref QT, but pretty quick. If they’ve captured as ProRes then a ref QT should also work fine.
The idea of rendering the TC burn window in the Avid just doesn’t appeal to me.
Alternatively if you know the start TC of your Ref export, you could try some other encoder that lets you add a custom TC value if they cannot read the embedded TC.