Historically speaking on the Film TC/Sound TC syncing. It was the only method by which AutoSync could sync from two different metadata columns. This was to support a very specific workflow back in the film production/transfer days for productions using Arri or Aaton systems to record timecode on film when shooting. The film camera and audio…

Read more

https://avid.secure.force.com/pkb/articles/en_US/user_guide/Media-Composer-2020-Documentation

Michael

If it is the motion look for some of those scenes, it was shot at a high shutter speed in production. The same for scenes in The Gladiator.

Michael

An old but still has some value whitepaper. The last section describes an ALE format.

https://www.avid.com/de/~/media/avid/files/hero-products-pdf/media-composer/avid-metadata-logging-tracking.pdf?la=en

Michael

Avid Media Composer does adjust the audio when you change the source settings of a VA master clip to project rate – in this case, a 23.976p source in 25fps project timeline. It will not adjust for the .7 semitone in pitch though.

Michael

I have a Cloud-based AAF to Excel ready file conversion that will break down the AAF by track and a duration calculated for each event along with all or any subset of source metadata you want to track. Here is a screenshot of just the timecode columns associated with each event on a per track basis but the spreadsheet includes all related source…

Read more

Sandwiched between IBC and Interbee, I see no real reason for many non-north American attendees to attend NAB resulting in a much smaller show than previous years. It will also be interesting to see how manufacturers choose to deal with this as well based on resources, budgets etc, and if they choose to not attend one of those three.

See here on page 27:
http://resources.avid.com/SupportFiles/attach/README_Avid_Editor_v20.6.pdf

It does not appear that 2020 Macbook Pros are supported. Doesn’t mean it won’t work, but should you run into issues, it is not supported. I am on a 15″ mid-2015 with 16GB of RAM and I feel that is right on the bubble performance-wise, mainly memory… Read more

And have you tried any of the Nablet Sony AMA plug-in to work directly with these files in Media composer and transcode there as needed? Depending on camera/format, it may be free or at a cost.

http://www.nablet.com/product-category/plugins/avid-media-composer/

Michael

Have you tried Shutter Encoder?
https://www.shutterencoder.com/en/

Michael

Referring to Pat’s comment about native RED R3D files not being able to be consolidated… while true, it is a shame that Avid has not updated its ability to do so as the SDK used in the AMA plug-in certainly allows for R3D files to be truncated to what is used + handles as new R3D files.

Michael

When using AutoSync, there is no blank media as part of the video or audio tracks as it always makes a subclip that is the shortest span common to both (unlike a group clip).

Certainly sharing one V+A camera original with audio to look into would help get to the bottom of the issue.

Michael

Bouke quickly added a “remove path” function to ALEChange as you can see here:

My ALE only has one event, but it would work for that entire column.

Before:

After:

Michael

Some very quick media compatibility testing… Set Media Creation to OP1a.

• V+A clips synced in DaVinci Resolve
• Delivered as MXF OP1a/DNxHD LB

The resulting OP1a file plays fine in PPro, VLC, Resolve, and MC when AMA linked. Ideally, you would just place these files in the Avid MediaFiles folder as has always been the practice with native… Read more

That’s true – I haven’t done a lot of testing with OP1a yet. I remember stumbling on the fact that the RED AMA plug-in supported AMA linking to OPAtom files since that was what the camera recorded for DNxHD/R.

Michael

for editorial only, I tend to do 1/2 good or 1/2 – as you noticed it’s faster and you’ll have plenty of resolution to make editing decisions –

Michael

It’s strange that Redcine X Pro did not complete the transcode and makes me wonder if there is something wrong with this file. Do all the files behave this same way?

Michael

Thank God it wasn’t keyframed, imagine the extra work!

What version are you running? It may be a bug or a limitation of FrameFlex. Maybe contact Avid support on this one.

Michael

Are you trying to conform back to the camera originals or the transcoded MXF files? For missing clips, you can do a force conform in DaVinci but I would double-check Source Filename and timecode with the same camera originals already in the Resolve media pool to make sure they are the same.

Michael

You are looking for the “Relink” command. “Relink to Selected” is inside the dialogue window once opened:
1. Highlight all the new master clips
2. Highlight the sequence
3. right-click on sequence
4. Select “Relink”
Maybe try this?
https://www.youtube.com/watch?v=e1_yIZzM1JE
Michael

The “relink to selected” is a subset of option in the “Relink” selection when right-clocking.
MIchael

The AMA linking is using a different architecture in 2020.4. You may need to relink manually selecting the new AMA plug-in.
Michael

a lot of people have been praying… ☺
Try separating V from A as a test and send as two different files, then combine them in MC.
Michael

While we would all love for a single universal interchange format to exist between all applications used in Media & Entertainment, it is most likely a utopia that will never be achieved.
That being said, each vendor as their own internal format optimized for their needs. Then there are the specifications for each vendor and interchange format… Read more

Yes.
Although it is a bit dated and hasn’t been updated since June 2013, the information is still valid for you to create new custom columns are Avid columns that you might want to map to.
https://www.avid.com/de/~/media/avid/files/hero-products-pdf/media-composer/avid-metadata-logging-tracking.pdf?la=en
Michael

The only way to get all metadata into a file is to create an embedded AAF file which I believe only Avid products do. Even Resolve using Avid’s SDK to create MXF OPatom native media only puts in REEL which becomes TAPE in Media Composer, but all other metadata like scene, take, comments, etc. are lost. Resolve does export an ALE file that can be… Read more

The Blackmagic User Manual has a section and a table describing which effects are supported with AAF – Roundtrip from MC via Resolve is a special workflow as Resolve just passes through the same AAF but points to new rendered media (nothing else changing).
In this scenario, the supported FX will give you an idea of what “might” be possible. I say… Read more

If you look at the MediaTool, is all the media there?
Michael

Hmmmm… didn’t help as much I would have liked, but maybe others have an idea. In recreating the db, was it refreshing existing links or just AMA linking anew and going from there?
Michael

Version of Operating System?
Version of Media Composer?
What were you doing at the time to create the error message?
Michael

I export as DNxHD or DNxHR from Media Composer as OP1as it is very fast and you don’t need to render or do mixdown beforehand. Select sequence and export as OP1a and in the dialog box you can select which codec data rate.
Michael

Any DNx codec inside MOV wrapper will not play anymore. If you want something universally playable then you will want to make an H.264/M4V of your OP1a export from Media Composer. MXF OP1a can be opened and transcoded in Compressor, Adobe Media Encoder, and Handbrake, Shutter Encoder, etc.. It can be opened and played in VLC.
Michael

A workaround is to change your project to HD, make your titles and go back to whatever it was. There may be softening as a resize is being applied.
Michael

Chances are you are in a greater than HD resolution project. Title Tool only works up to HD. Blue Titler was an interim stop-gap solution to allow HD+ size titles to be created. Titler+ was added in more recent versions of Media Composer to deal with HD+ resolution title creation, but it has its share of hit and miss as well if you read the… Read more