Michael Hancock
Forum Replies Created
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[Michael Phillips] ” I need to check what happens when you render – is a render the same as a transcode? I rarely work in cross frame rates, so I my direct knowledge may be a bit rusty. But whenever you see that long pop-up warning dialog indicating these will not relink, that is the point where history is broken back to the original clips. “
I don’t think a render kills the link back to the original footage. The project I tested the whole mixed frame rate workflow on had a lot of renders. I just cleared them before I relinked to the AMA footage and I only had one file not relink properly between three different frame rates, and that was my fault. I used QTChange to add timecode to DSLR footage and two clips happened to have the same name and timecode and Avid relinked the wrong one.
As for the pop up dialogs – that’s what prompted me to try building individual projects for all the footage. It’s a little clumsy but it works. This is one area I’d really like to see Avid improve – bringing mixed frame rate material together in one project. And resolution independence. I really hope that comes in the next update, if it’s even possible.
I’m jealous you don’t work with mixed frame rates very often, though! Seems like it happens on more of my projects than not anymore.
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Michael Hancock
Editor -
[Michael Phillips] “make the multiple projects – but a transcode still kills the relationship back, but at least you know which clips came from where. If AMA directly in your master project, I would log custom columns as to original frame rate. “
If you AMA your footage in to a native frame frate project (24p footage in a 24p project) and transcode within that project, then copy the bin over you can relink it to the AMA footage at the end though, allowing you to work at an offline resolution. You just don’t want to make a 23.976 project, copy that bin to a 29.97 project and transcode from there. I did it with Symphony v6 and it worked just fine (or I got really lucky).
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Michael Hancock
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I got a lot of mixed frame rates from different cameras, and here’s how I handle it.
Make a project at the resolution and frame rate for each type you have. For example, if the project is EDIT_A_2012 and I have footage that’s 720p60, 1080 23.976, and 1080 59.94 I make a project for each of those and I label them with the frame rate. So I’d have EDIT_A_2012 60p, EDIT_A_2012 23.976, and EDIT_A_2012 59.94. Bring in the footage that corresponds to each project and transcode or consolidate it to Avid media – your editing experience will be much better that way, especially if you have DSLR footage. This transcode/consolidate is what takes the longest, but it’s worth it in the long run in my opinion.
Then I make a project that matches the resolution and frame rate the final deliverable will be – say 1080 59.94. I make a project just for that, or I just use the EDIT_A_2012 59.94 project. At the finder/explorer level copy all the bins from the other projects into the EDIT_A_2012 59.94 project. This takes about about 10 seconds. Open it, edit away. Avid handles the frame rate conversions and scaling of everything from this point on and does a pretty decent job of it. If it guesses wrong you can go into your motion adapters (Avid automatically applies these for mixed frame rates) and adjust the interpretation.
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Michael Hancock
Editor -
When dealing with DSLR footage I sync manually because the audio recorded on the DSLR is often off by 1 or 2 frames.
To quickly sync, select all of your video takes and drop them into a sequence so the shots are sequential. Drop the audio under it and start lining the clap on video up with the spike on the corresponding audio take. Shouldn’t take long at all if you slated it.
Once it’s all laid out, go to first clip and mark In/Out on it and subclip it so you have just the video and clean audio (you can keep the camera audio if you want, but I prefer not to). This will make a subsequence. Map it to your keyboard so you can blow through your timeline in a matter of seconds until every take is its own sequence. Select them all and go to Bin–>AutoSync. Now all of your clips are synced and turned into sync clips. Edit away.
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Michael Hancock
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Try selecting the sequence and choosing Relink, then in the bottom of the Relink window choose to relink to a specific resolution and pick DNxHD220, or whatever the transcoded footage is.
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Michael Hancock
Editor -
If all the segments are on the same track you can clear your In and Out marks on your sequence, select the tracks you need to lower in the audio mixer, lower by 3db, then go to the fast menu of the mixer and choose to lower that for selected tracks. You can also set In point and lower for all clips from In point, or from Out point, or from In to Out points if you mark those.
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Michael Hancock
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Import the audio and it will convert it to the project’s sample rate. Check under your audio settings to see what that sample rate is (I think it defaults to 48kHz).
Can’t say on the Mono/Stereo thing. I always use mono tracks because I always have, but I”m not an AE and I don’t have an AE, so I don’t know the standard workflow there. I’d ask your editor how they want it set up.
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Michael Hancock
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Avid added a link audio and video button to the smart tool palette. Uncheck it. I’d show you a screenshot of the button but I’m not in front of a system right now. I’ll try to post a screen shot later if you don’t find it.
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Michael Hancock
Editor -
Add a color correction effect and remove the saturation – grade until you like the image. Then Alt+Drag a Picture in Picture or 3D Warp effect to the clip and crop it to only show half the screen. Voila! Half the screen is now black and white.
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Michael Hancock
Editor -