Glenn Sakatch
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Download wave agent. It’s free. I routinely load up all the audio files in it ahead of time to check whether the files are 44 or 48 (or what i’m getting now which is 48048?), you can check timecode status, and scene and take information.
At the push of a button, you can alter any of the attributes, or batch everything. Make a copy of the originals, as the program defaults to over writing the files, but i believe there is an option to make new versions.
Glenn
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If they want both DNXhd and an aaf, they may prefer you do Ross’ initial consolidate steps, and provide them with your individual MXF media (at full res), along with an aaf that points to that media.
load your sequence, export, create a setting for aaf, linked video and audio, not using marks or track selection. This will export everything in your timeline as part of an aaf.
you would probably find if instead of export, you use “send to” and use the Avid DS setting, you will get the same result.
Glenn
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what version of avid are you on?
You don’t want to link to available drives, that scans the data base, looking for media.
If you have already relinked a new version of the media, try opening that bin, and the bin with your sequence, so that you have two bins open. Select all the clips, right click on the sequence and select relink.
use the “all selected media in open bins” option, and play with some of those settings.
Glenn
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John, unless you delete the original media, consolidating it won’t typically go an clean up your media for you. There may be a setting in the consolidate tab to “delete original media when done”, i’m not infront of the box right now, so i’m not 100% clear what it’s delete function is, but the basic idea is to consolidate everything down to a single location for you to archive easier, and perhaps save some space, but you really should be the one who makes the final decision on when to delete your original media. Don’t leave that up to a computer program, or you will curse it at some point.
When you do a consolidate, you may want to simply move your orginal mxf/** folders out of the mxf area from that drive to hide them from Avid, after you’ve completed the consolidate, and assuming you aren’t consolidating to the same drive that the originals are on. In that case you may want to rename the original folder from “1” to “2” before you start consolidating. The newly created media will then be put into the “1” folder. If you do this, make sure you are not skipping any media already on the target drive.
Glenn
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First order of business will probably be to buy an HDMI I/O device. Intesity shuttle? I don’t use the device, and i don’t typically capture through Resolve (if that is what you are thinking) so i can’t speak to those issues, but in theory, that should work. Is there a reason you want to do a live capture rather than a file transfer?
You should be able to simply copy the files across and open them in Resolve or Avid or pretty much anything else.
The idea of recording the raw stream as opposed to the compressed recording format might be valid for some workflows, but you’re laptop is going to have to be able to record an uncompressed stream to get any kind of benefit out of it, and you are going to need some storage space for uncompressed as well.
I don’t know enough about the camera to comment on whether you would be getting anything better than a 422 signal out of the camera anyway.
Glenn
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Check your ama settings. There were some different options re: AMA XDcam vs AMA P2 in either 6.5 or 6.0. My memory escapes me, but there might be something there to play with.
Glenn
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Even then, with reflections, and fine detail in some shots, i would be prepared for some roto work, but certainly not on every shot.
Glenn
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If you are worried about render passes (which i don’t think i would be worried about 3 passes on 444 footage), you can probably eliminate a few.
You mention Mocha for skin touchups. What is your process for this? You are going to track the face in mocha, but are you using mocha as a paint tool? I would assume you would track the shot in mocha, send the tracking info to your composite program (AE?) and do the actual face fixes there. You don’t need to export footage out of Mocha in this scenario, just the numbers, so that would save a pass.
I would be tempted to do any final “tweaks” in after effects, or what ever composite program you choose, rather than send it back to resolve. Thats the whole idea of a composite program, otherwise you are tweaking comps that are no longer split out into layers…tougher to tweak. Also makes client driven last minute changes easier to deal with.
I love Resolve, but i’m not finding it to be the end of my pipeline just yet, but as i stated off the top, i wouldn’t be too worried about 3 passes on 444 footage.
Glenn
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Yes, blackmagic hardware only for resolve.
I never really used my mxo2 for encoding. It was purchased as purely an I/O device for tape sources, and i used it to record and preserve HD closed captioning a few times when master tapes had to be tweaked for what ever reason.
Glenn
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I use an Avid DS for mastering, as opposed to an Avid Media Composer, but you could certainly use a plug in with Media Composer. Both Boris and Sapphire have legalizers, but you really have to turn Sapphires down, – it really attacks the chroma in preset mode.
Glenn