Michael Phillips
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COW Coin
Forum Replies Created
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Pro Tools still adheres to TAPE or SOUNDROLL conform when coming from Media Composer when looking for source information. In your scenario, lack of timecode may be am issue as well. When importing BWF files, and no soundroll or tape is declared in the file, I will duplicate the file name into the soundroll column. After importing an audio file, display the following columns in your bin:
Tape
TapeID
Source File
SoundRollOnce of those columns will have the file name captured from the name of the file, or from the metadata in the BWF header.
I find most often, that it is the TapeID that carries the full file name – or it will be Source File. In order to make an EDL – EDL Manager will automatically default to using Tape/Source File (cannot choose either or -it is Tape first, if nothing, then Source File), Camroll, labroll or SoundRoll.
By duplicating the values from any of the columns above that contain the source name to the SoundRoll, you can now generate an EDL. Then timecode may be an issue.
Michael
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What’s the shooting ratio and total amount of dailies expected? If editing at 4K, you can work in an “offline” type quality of DNxHR LB (low bandwidth). If you use that and 1/4 proxy for transcode, a 4K UHD file is exactly the same data rate and storage needs as DNxHD 36. If you don’t work in proxy mode, then you need 4x the storage space for the same amount of footage.
Then do what Shane mentioned for calculating storage needs based on type of RAID being used.
Michael
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I mean the QuickTime Player – and it is best to use QuickTime 7 player. Once the .mov file is open, then you can do to the track properties to set it as seen here:
Michael
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I did not attend NAB this time for the first time in many many years… I am mainly an Avid user and editor and focus on feature length content from an independent level to studio type workflows. My feeling from just reading buzz of interested to me:
1. Resolve 12. It is an essential part of my workflow, but the additional feature set is intriguing the editor and metadata whore in me. More than anything the number of new features and refinements is amazing – the proof will be in the pudding, but they are not standing still.
2. Ursa Mini. A nice size and specs for production. Something that my film student son can easily use as well as something I would not hesitate checking out for higher budgeted features. The $5K price version being the model to look at – depending on your lens arsenal.
3. I was underwhelmed by Avid DNxIO. It left me with more questions than answers. Of course things may change by the time this ships in Q3, but for now this looks like a better deal for BMD than it is for Avid. Perhaps a better fit into “broadcast” or enterprise broadcast/post.
4. Fusion OS X. I work on both platforms, so I am familiar with Fusion, but having it available on OS X is a really good thing for parity alone.
5. Other stuff in general, but not in the top three for immediate impact on my day to day (once released).
Michael
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I would never recommend exporting H.264 or other compressed file types directly from Media Composer as that just uses QuickTime to do the compression and it has never been good. Always use a third party tool that gives you some control over the compression. SO either uses export “same as source” or QT Reference which points to the timeline’s original essence to be encoded by a third party application.
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The Avid Connector was built by Fusion before the Blackmagic acquisition – what will be interesting to see is how it will manifest itself in Resolve.
Michael
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A roundtrip assumes you’ll eventually end up back in MC, so while you cannot see the effects on those particular effects, you can color correct the sources and when bringing the AAF back into Media Composer, the effects get applied.
If you are finishing completely in Resolve, then it is a different matter. I have created separate V tracks with handles for the dissolves when working that way and recreate the dissolves in Resolve while other effects were rendered in.
Michael
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Take a look at this tutorial:
https://www.provideocoalition.com/media-composer-101-advanced-4k-workflows-part-3-davinci-resolve-roundtrippi -
You can either add the Avid MediaFiles/MXF/ numbered folders to the media pool, or when importing the AAF there is a checkbox to add source files to mediapool. If the AAF points to the MXF files, then they should be added as part of that process.
Michael
