[Juan Juig]

You couldn’t have been clearer. Thank you so much for replying!

[Juan Juig]

But here’s the thing: I know for a fact that inside Avid (at least within version 7) everything looks washed out.

Also: my video file from resolve was exported as “full levels” and in Avid I can see that colour levels are often out of legal (16-235) range. And that’s how it’s meant to be.

If I export the video (that is now imported to Avid and also has ‘illegal’ values) with same as source 601/709 quicktime setting the export looks right in VLC player and different from Avid preview. Which is absolutely fine. I always have in mind that Avid’s preview (in my version: 7) is not accurate and shows footage as if it had less contrast.

But my problem is the following: the still TIFF that I export from Avid looks exactly like the the preview in Avid. Meaning that it is also different from Same as source export.

And that is what I find odd. Could it be that the pictures use different standard colour space than videos and therefore behave differently with same export settings? Could it be an internal Avid 7.0 version bug?

Best regards

[Juan Juig]

That indeed would make sense if all the levels would be between 16 and 235. But the waveform sometimes shows parts that are out of this range. Meaning that these parts would be crushed if I exported them as RGB.

The colour grader that exported the files was working in Rec 709 full swing in 10bit colour space. When I play the video in VLC it seems right. Also if I export the same as source from Avid, VLC shows the video “the right way” (and on a computer monitor!) even though there was no remapping done. Why does the washed out colour problem occur with tiff export?

[Juan Juig]

Thank you for your reply. So here is the workflow:

The footage has been recorded on BlackMagic HyperDeck Studio recorder in 185 DNxHD 50i OP ATOM MXF, upper field first.

It has then been imported into Avid Media Composer via media browser (basically I just had to copy the files into avid folder and drag them into bin with media browser, because it had already been Avid’s codec).

After the editing I exported the AAF to Davinci, where the problem occurs within the program.
After the grade I exported OP ATOM (same as source options) back to Avid where I also exported same as source, adding some titles. I also tried exporting ungraded version. As it turned out as I checked it on the interlaced monitor and hardware, the ungraded version was playing fine, while the graded version had those “fades” between cuts.

When exporting I always used setting that were same as source.

[Juan Juig]

Dear mr. Glenn,

Thanks a lot!

Your method worked indeed and fortunately I had the knowledge of writing a macro script, so I didn’t have to do everything manually.

Cheers

Juan

[Juan Juig]

Thank you for your replies. Yes I did recieve seperate audio and didn’t synch it before editing.

Audio timecode does match video’s timecode. Could you please explain how to add “custom column” to the audio files? Do I do that even before the file is imported or in Avid? And how do I create it in the first place?

[Juan Juig]

Under the source settings I only have Color Encoding and FrameFlex tab. I am using Avid 7.0. Is there another way to do what you described in that version?

[Juan Juig]

Hi, thank you for taking your time and answering. I will indeed try to connect the microphone to other cameras.

I am using Zoom h4n merely as an external recording audio device for my Sennheiser Mke600 as an input. I believe the zoom does an excellent job and I am very content with its own (stereo microphone) recording abilities as well. I never intended to connect zoom to the DSLR because I use it mainly to record atmospheres and I use the shotgun microphone for dialogue and generally for all the action in front of the camera. In general were you content with your Zoom h4n and was the problem you described its only con?

[Juan Juig]

Thank you so much for your reply. I tried exporting in DNxHD 185, which ended up in the problem with subtitles. Now I exported with Same as source option and the problem is gone. I will further investigate this issue when I have the time.

[Juan Juig]

The sample rate isn’t the main issue here. I most certeanly realise that 44.1 is not by chance a way to go when recording audio. But the boom operator was not experienced, neither was the camera guy. The footage was supposed to be 25p, while it is 23.976 and the sound is by default recorded to be synched with the 25p footage.

So my question is whether there will be problems synching these twoo and how I can resolve this issue.

Could you please explain that to me? Nevertheless thank you mister Phillips for you response. You often respond to my posts and I really appreciate your time.