Job Ter burg
2
Avid Coins
13
COW Coins
Forum Replies Created
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In the Project Window, under Format, switch to an SD format.
Framerates need to be equal, though. If not, you’ll have to convert one to the other. -
AIF, WAV and PCM(MXF) all write the exact same data, but to a different container file. That’s it. It has no implications on the type of mix you will be doing. If you are going to export to an audio workstation, you’ll need to make sure that the device is capable of handling the format you choose. ProTools will handle all three.
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The Avid does not boost anything upon import, it imports bit by bit, sample by sample.
If you are actually seeing digital “overs”, then your master volume output might be set wrong, or you are mono summing stereo pairs.
Also, sound files like MP3’s or files from CD and Quicktime have often been normalised at 100%, meaning that their peak audio is at 0dB full scale digital. Especially music is often compressed, limited and normalised, which means it doesn’t easily translate into a broascast environment without decreasing levels first.
By default, I bring down imported music by 9 or 12 dB’s in the Audio Mix Tool. -
Bouke, I believe the OP was talking about key light (main light source on set), not chroma keying.
Apparently some elements in his frame are overexposed.
Hard to tell how to fix it, without seeing the shot, though. -
Joe wrote: “As to your comment on the P2 path for media, what is your workflow? I try and backup everything to a spare drive that I label and shelve, but I don’t feel it’s a perfect solution.”
I wish I had one.
I’ve only been involved in one P2 project, but it was rather large (almost 4TB of DVCPRO-HD 1080/50i). It was even more of a mess since they had started it in FCP, then needed to do the final cut with me in Avid.
They loaded off footage to a Firestore (which caused problems for spanned clips), and they backed up to WD eSATA drives (double backup). They had imported everything into FCP in DVCPRO-HD. So in the end we had 3 copies of each clip, one on Backup One, one on Backup Two and the imported FCP clips.
When moving everything to Avid (reimporting), we found that one one backup disk, some files from two shooting days were missing. The second backup disk had gone haywire by then. So we decided to export-import the QT’s from FCP to Avid, manually adding source TC after import.
So in short: P2 filebased shooting in my humble opinion sucks, unless you spend a fortune on hardware RAID rigs to archive your footage, or playout everything to HDCAM first.
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Joe wrote: “DNxHD36 is for progressive sources only, but for Rory’s 24p project, it may be just the ticket.”
I would have to disagree.
First, DNxHD36 is an offline resolution. Going from DVCPROHD to DNxHD36 seriously reduces the data. OK for offline, but – in principle – I would not recommend it for finishing. And I would not recommend using the offline-online path for P2 media. To me, it just feels like too much of a risk.
Second, DNxHD36 is 1080p only, and Rory mentioned 720. -
Your software will handle the HD formats, but you won’t have HD outputs on your Adrenaline BOB, unless it has the optional HD I/O board.
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Joe wrote: “The file size for DNxHD video is not much larger than DV”
That does not appear to be true. DNxHD is around 1.2 min/GB whereas DV does 5 min/GB. DVCPRO HD also does around 1.2 min/GB. -
I mostly prefer DNxHD over DVCPRO since DNxHD is Avid’s own codec, and it has been built to stand some compressed compositing, plus DVCPRO is thin raster, and I just felt better posting in full raster. Also, I’m on classic Nitris, and that machine is built for DNxHD. It does handle DVCPROHD since v3, but since it has hardware based codecs for DNxHD, it works much faster with that.
I haven’t done extensive testing, but read several folks recommending the transcode for long form. -
As said, you should not only import the clips, but also import the media. It is a two step process. The copying of the files is a different way, but I got the impression that it was not recommended.