[Lena Gregorian]

What is Uniform Zoom?
Is that something you do in FrameFlex?
I see there are black adges on the sides, but this is the resolution the photographer assigned.
If I zoom then the information on top and buttom of the frame will be cropped.
Should the frame be further streched?

Thank you

[Lena Gregorian]

Hello Oliver,

This is how I’ve adjusted the frame in frameFlex:

I’ve entered the values of 5760X2160 in the Image Size
The image aspect ratio is 2.67:1
in FrameFlex: the image aspect ration is also: 2.67:1

and in reformat I chose “letter box/ pillar box”
Should I stretch further to the sides?

Thank you.

[Lena Gregorian]

Hello Oliver,

I’m now looking at the footage and the files from the camera are 2994×2176 (2.706), at 24 FPS, ProRes(4444) – This is shown to me by the program “Media Info”.

The photographer told me the shot is: 5760×2160 (1:2.66), after de-squeeze.
However the footage is not 5760×2160 (1:2.66), and my guess is, because it’s still squeezed, and when I desqueeze the footage it will be 5760×2160 (1:2.66).

I’ve used the timeline settings: 2k dci 2048X858 (1:2.39) – there’s a preset in Avid.

In “Source Setting” I look at frame flex, image size and there’s no format: 5760×2160 (1:2.66)

It’s either 4K or 8K, but not 5K.

So I wonder how should I get that exact format? Can I manually add it?

Also this aspect ration of (1:2.66) – does not exsist. Can I add it manually?

Thank you,
Lena

[Lena Gregorian]

Thanks Shane!

[Lena Gregorian]

Well, everything is solved.
Apparently the audio mixer has a menu (…) and if you toggle the “auto” option (which I didn’t ☺ ) then it bypasses the mixed setup, if you toggle another option everything goes back as mixed.

Nice to know.

Thank you for your time!

[Lena Gregorian]

OK Thanks,

The director keeps insisting that I made the audio mix go away…
Another thing I did is “Auto-Sequence” for clips from each SD card, and than placed the sequences on one timeline for faster grouping by timecode.
Could the auto-sequence of the clips, possibly cause changes in audio mix?

Thanks!

P.S.
I’ll write what I did exactly, it’s a workflow I’ve been thought in my previous job (you don’t have to read it):
1. three cards from three cameras
2. transcode the linked-AMA to offline res.
3. place each card with transcoded clips in a different bin – auto-sequence the clips that were rec-run (so they line up nicely) and hand insert the free-run clips.
4. have all the sequences in one sequence – this is the sequence I’m working on
5. place the clips lined up according to the clap (these are the transcoded clips I’m working with)
6. group – by inpoints
7. insert the grouped clip on top (erase-the red arrow) the current lined clips, erase the gaps.
8. delete the unnecessary tracks
9. the sequence is ready – multi-cam editing is now followed.

[Lena Gregorian]

Hello Shane,
Thank you, as always for your thorough comments.

I didn’t lift the “extra” audio tracks, but I right-clicked the audio track and chose “delete audio track”, and is was deleted only from the sequence with the groups.
The groups had all the audio data inside, represented by two audio tracks, and I chose the correct track.

[Shane Ross] “I’ve never heard of this one…timelines aren’t connected like that.”

I don’t think it’s a real thing…. never heard of it either.

[Lena Gregorian]

Hi All, Hi Shane,

I have to share with you something that has happened with my workflow.
My transcode file, is not generating a copy of the sound file. Is this because of the MXF type, OP1a or OP atom?

Is this a new thing for avid? I’m posting a picture for reference. What am I doing wrong?
https://images.creativecow.net/282812/avidtranscode.jpg

[Lena Gregorian]

Hi Shane,

I asked the technician at the studio’s and he confirmed that it’s MXF OP Atom, so this files are shown at Avid MediaFiles/MXF/1, and they in did show in my project.

Also it’s 1080i – interlace, so I changed my project to 1080i50, and now I transcode. It was shot to DNxHD 120 1080i, so in my transcode I did:
Raster Dimensions: Source Dimensions (I read somewhere it’s better to keep proxy on), keep the frame rate of the source, as you once told me that if I don’t know the frame rate, I should keep it to the one of the source (and they told me it’s 25, but my project is 50, so I kept it as source). The target video is DNxHR LB with full quality, this is for offline.

First I wanted to do DNxHD 36, but after changing the project frame rate to interlace (and not progressive – 25p), it only gives me higher DNxHD, so I choose the DNxHR, is it a good choice to go back to ONLINE from?

I hope to get it right this time… better sooner than latter! ☺

Thanks for your help,
L.

[Lena Gregorian]

Hi Shane,

I say “expected” because of my past experience with this ongoing project, but you’re so right, there can be many formats of files. Mine are video and sound together, it’s MXF from DNxHD 120, 1080i, project frame rate is 25f.
From my past experience after consulting with you on a similar matter and these days, I’m transcoding to DNxHD36 as a good offline quality. Only the video not the sound. And I managed to “bring” the MXF to the bin by dragging the data file.

My though was whether to keep it to a source frame rate or project frame rate, and I choose project frame rate, with the frame rate I’ve been told they shoot. What do you think about it?

Thanks,
L.