John-michael Trojan
Forum Replies Created
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If you are still looking for a solution to get to ccc files try giving light illusion an e-mail. they recently came up with a solution that converts cdl-edls to ccc files by parsing the cdl and kicking out an individual ccc file for each event. works like a charm.
best,
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Thanks Mike, very helpful. As we have reel/tape names without duplication of timecode within it sounds like we’ll be fine. On the other hand, tracking this column from the provided ALE seems like an easy thing to include in the rather robust database. While Avid may not use it, it would be nice to pass along for tools that do, or could, as another point of reference. One could certainly choose to either use it or not pending their workflow.
…”the articles” keep saying we are moving to an IT based infrastructure, we might as well use it!
best,
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I’m in a similar situation but different enough that I don’t think this solution will work for us.
Creating dailies from multiple cameras in resolve. Any cameras that do not have reel names or proper timecode in their files are getting mezzanine files that do… most of the shoot is coming from alexa recording ProRes.
When exporting an ALE from resolve before exporting DNx36 MXF files for off-line in MC6.5 the ALE includes the source file column. However, this information does not come into the bin when the ALE is merged. Since the information in the ALE is actually the source path, I changed the name of the column to source path. Still, the source path column is not propagated, but clicking get info on the clip in the bin shows the source path information.
Using a test sequence, I exported an AAF to ensure that resolve would conform back to the source Alexa files or mezzanine files. While it did, using reel name in file header and timecode, I had to piont resolve to the proper directory as it could not find the files itself (even though import source files, ignore extension, and re-link to source clips where all checked).
I assume this will be an issue when/if a reel name is duplicated through a very long shoot (i.e. cam op sets card name to cam A card 1 after a two week shooting break …it’s already happened!). Combine this with an editor that likes to change the clip names in the bin to something more meaningful than the file names – I foresee issues come conform time.
Also – we can’t set reel name to be file name as some of the non-alexa cameras (i.e. gopro) use the same file names repeatedly.
any suggestions would be appreciated as I would be much more comfortable if source file/source path was used through the workflow and resolve could automatically import clips to the media pool with this info rather than matching reel names and timecode only.
thanks,
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Thanks for the help all.
You are correct that there is nothing really wrong with the media (it already is ProRes and plays down fine in another room).
I have tried putting the cache files on local storage but not the boot drive. After disconnecting the fiber for a start-up and reconnecting (effectively clearing any outstanding logs/etc and restarting the meta-data controller) things will keep up for a bit; but alas – the wheel eventually comes back.
I posted here wondering if anyone had experienced anything similar as a FCP user. However, at this point I’ll re-direct back to a potential issue with the meta-data controllers, etc.
thanks for all the input. It is appreciated.
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I agree it is definitely not the SAN playing the media.
Thanks for the advice on the re-direct. Some down time has helped lead to a few decent thoughts as well.
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Agree. Makes complete sense. I was more specifically inquiring about distributors. Hopefully they are not planning on changing the grade!
best,
John-Michael Trojan
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Not to hi-jack the thread… but I’m curious what the potential use of a 4:4:4 joined cut master is. We’ve been making and delivering them as they have become something of a standard requirement in the delivery spec… but once out – what would a distributor use the 4:4:4 master for? Anything they release is likely going to be 4:2:2 and need the conversion anyway – or – you could put YUV (pardon my abbreviation) in a 4:4:4 recording, but really what’s the point.
So – now we have an RGB 4:4:4 master (with rec709 version of the grading LUT baked in) in rec709 colorspace in a video legal range. Where would one view this practically? Sure – it could be used to create a DCP (or anything else for that matter), but the rec709 space already hindered the potential of the DCP.
thinking out loud and sure I’m missing something…
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in order to use EOS utility after copying to a harddrive you just need to take both folders from the camera. Most people don’t copy the MISC folder, hence why the tools fail. I’ve even re-created the correct structure from scratch and been successful.
best,
John-Michael
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It is also worth noting the grain processing done to “House”. This is a very delicate art that can make digital footage come to life; when done properly (as in, an expert of the same caliber of the DP and focus puller on that particular show). In terms of banding, properly dithering the footage can make a big difference.
Also in terms of house – it is important to realize the amount of post done to get the most out of the files put the budget close to that if they had shot 35mm.
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why not take the source h.264 files and render them directly to m2v for studio pro (skip the whole FCP step/ProRes compression)? be sure you have a quick cluster built in qmaster to speed up your render times.
Otherwise – I’m at a post facility with DVD recorders. We could play out your h.264 files in real-time and record them to DVD. If you need source TC burn that would be an extra render step (for which we could use our render farm to kick out new files rather quickly).
Feel free to reach out to me directly. John_Michael@divevisual.com
John-Michael
sr. producer DIVE
John_Michael@divevisual.com