Job Ter burg
2
Avid Coins
13
COW Coins
Forum Replies Created
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If you want to keep everything, you need to copy all relevant Avid MediaFiles and your Avid Project (not per se the Attic).
So on your system drive, there will likely be a place where your project are stored. Your project contains all bins and a Project file and a Settings file.
If you want to be able to track the media for any given project, you’ll either need soemthing like MDV or MediaMover, or you need to get used to keeping your project media separated manually as you go.
For instance, if you start on a project, first rename all current Avid MediaFiles folders (on all media partitions) to ‘Avid MediaFiles X’. This will hide these folders from MC. Start capturing/importing/rendering/editing, and MC will auto-create a new Avid MediaFiles folder. When you’re done working on the project, rename those folders to ‘Avid MediaFiles PROJECTNAME’. If you ever need to work on it, just rename it to Avid MediaFiles again.
If you copy media onto a different drive, MC will find it there. If you copy your project to another system, you’ll be able to access it from MC.
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The ‘underwater’ description makes me suspect phasing errors are occurring. May very well go unnoticed when stuff is panned L/R during monitoring, then summed to mono during export or playback.
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The wide adoption of ProRes amazes me to this day.
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If you want to have ProRes under the Custom Quicktime export options, you would need to get the ProRes codec. I think you get it when you buy Compressor and/or FCP. But I would NOT go that way, since exporting to QT ProRes this way (using the QT engine) is guaranteed to give you unintended gamma changes.
The clean way to do it in MC6 Mac (no APR encoding on PC’s thanks to Apple) is transcode or mixdown to APR inside MC, then export Same As Source.
So for instance, if it’s a source clip, just select it in its bin, choose Clip->Consolidate/Transcode, choose Transcode, and select APR. Then export the resulting clip using File->Export->Quicktime->Same As Source.
If it’s a sequence, either transcode the sequence (like you would the source clip), or just mark in and out and choose Special->Video Mixdown, choose APR as the compression type. Dupe the sequence, strip the video, add the mixdown, export same as source.
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What other compression types were you expecting? Those are the Avid options for 50i source footage, AFAIK.
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P.S. MC now does have an option in AutoSync that lets you choose how many tracks (or actually which track range) you want to include in the AutoSynced clip.
PT 10 needs you to right-click on a track to designate it as a Field Recorder Guide Track – in v9 that was not necessary. Some of this functionality already was available in PT 8.1, or so I was told.
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When you load a sync clip into the source monitor, you can choose which TC to display. V1 will show you the picture’s TC, but A1 (or A2) will show the original TC for the sound clip.
Also, you could copy (CMD-D / CTRL-D) the Start TC column for the imported sound clips into, say, the AuxTC1 column, which you could then have the sync clips display at bin level.
As for the multitrack thingy, you can’t easily “uncollapse” in MC (you can matchframe, but that would mean you loose subframe syncing), but normally the ‘uncollapse’ is done in sound post.
If you supply Pro Tools based sound editorial with an (unconsolidated) AAF and all linked media, plus all original BWF files, PT allows them to designate picture editorial’s production sound tracks as Field Recorder Guide Tracks, and this will let them link back to all original tracks for the original BWF files.
Here’s a link to a doc I once drew up about it. It’s a bit dated, and modern versions of MC and PT allow for more flexibility (like the ability to relink to BWF-P files, not just M’s).
terburg.home.xs4all.nl/Publications/Multitrack Approach_110830.pdf -
OK, ALT-AutoSequence was new to me…. Thanks Michael!
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Met a great DIT / data wrangling team in SA. They have a van filled with the right gear (including MC) and smart and fast storage solutions, and they were simply able to make anything for anyone – tested and backed up.
In my experience, all that is rare.
On most productions I find that everyone seems to be reinventing the workflow wheel again and again, time after time.
And whenever you mention this, someone steps forward claiming to have the great all-in-one-box solution, that usually turns out to not tailor my needs at all.
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All depends. Most of projects (35mm or S16 or digitally shot) had logging done in editorial, but on one or two projects the lab/TK house would provide editorial with logged and synced dailies.
I personally would then also require the syncing would be done subframe, using PerfSlip, which my AE’s always do for me.
Other than that, the logging and syncing has to happen anyway, so it doesn’t matter if it’s done in editorial or on set.
But not if there’s just one DIT, I just wouldn’t trust it. This requires more hand on deck (on set) to pull off. I think that it would at least require an assistant or data wrangler or whatever you want to call someone in charge of these tasks.