Michael Phillips
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COW Coin
Forum Replies Created
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In 8.3 you have the ability to change playback rate of a clip via its source settings to match project rate. This is a frame for frame conversion, so the same as changing its frame rate to 23.976. Audio will be sample rate converted, but not pitch corrected. the .1% is usually not an issue unless it’s heavy music like Symphony in C Major and there are pitch perfect listeners watching it. It will drive them crazy… 😉
If you don’t have 8.3 or Cinema Tools, My very first blog was how to do Universal Mastering in a file based world using Media Composer:
https://24p.com/wordpress/?p=6
And just in case, I created a spreadsheet that calculates the sample rate one needs to apply either during production or after production to match picture speed changes as well as what amount of pitch correction if desired.
https://24p.com/wordpress/?p=195
Michael
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If you are editing off the direct attach storage not in a shared environment, there is an additional folder hierarchy that is not supported by the stand alone editor. For standalone, you want the Avid MediaFiles folder at the root level of the drive with the exact path of:
[drive]\Avid MediaFiles\MXF\[numbered folders]
In an ISIS environment, there is an additional older in that path for user/system being used. Now it seems to me that Avid could make standalone MC’s recognize that extra layer and see past that, but that is not the case and you need to move that folder out of the path.
Michael
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Media Composer has three areas where it can store projects depending on whether you want them to be private, shared or at a specific folder path. That is selected at the project select/creation window. Sometimes that loses its preferences and you need to reset that preference or reselect the path of not in the private/public section of the OS.
As far as fatal errors go, if it is not a project path related thing, your best bet may be to uninstall and reinstall the software.
Michael
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Premiere does export an AAF as well, and is something to try, but most methods are somewhat hit and miss. I am currently converting a feature that started on PPro to Media Composer from RED files and am using an EDL. The EDL is not the greatest as there are black holes in many areas, but I get a 70% start. I import, decompose, then relink that sequence to the RED files using “relink to selected”. Thankfully the sequences are still 90% straight cuts at this stage, so it is fairly straightforward.
Many people have also had success conforming in Resolve to the sources, then exporting out an AAF for Media Composer using Resolve as a Rosetta Stone (so to speak).
Michael
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Since SD is a 4:3 resolution, anything wider was done via an “anamorphic” type solution. So when your native 16:9 footage goes to standard definition video (and DVD), it can either be:
1. Letterboxed
2. center cropped
3. Full Height Anamorphic (FHA)The MPEG2 encoding process will flag a 16:9 source as being anamorphic and the DVD player will know what to do with it based on the settings set for the monitor attached. I have not made a DVD in a looong time, but when I did, I just encoded my 16:9 source and it did the rest. Same for 2:3 pulldown flags when source was 23.976. It all gets flagged in the MPEG stream during the transcode/encode to mp2.
Michael
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Not that I know of… Maybe someone else does?
Michael
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There’s a difference between frame rate for editing and a playback frame rate. For example, 23.976 is a playback rate, but EDLs, edits and such have 24 frame. They’re just playing back slower. The same goes for 30 and 29.97, and because of that slower play back rate, drop frame was created to keep the count accurate relative to wall time. In theory the same could be done for 23.976 to have a drop frame count following the same rules of 29.97DF, it just seems no one is in a hurry to do so. Once you get into OTT type delivery specs who want the programs delivered in their original shooting rate, 23.976, 24.000, 25.000, 29.97, etc. but they don’t have to keep to a broadcast schedule based on set times. So no real need (yet).
The issue with 24.33 is that is is a recording device that wanted to either do 24 or 25 and failed at both for whatever reason. But I’ve seen these rates from cell phones and such. For best quality, you will want to do a frame for frame, as you said 23.976 which will only be a 1.45% change in speed, so won’t be noticeable from a slowness perspective, but will not have blended or dropped frames.
That will require an update to 8.3 to get that feature.
Michael
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23.976, 24, 47.972, and 48 are not typically “broadcast” rates and are all supported with the latest version of Media Composer 8.3. I see no reason why you would want to work at 24.33 if that is what you’re asking?
What version are you on? If 8.3. For this example, I would created a 24.000 project, AMA link to the 24.33 file and in “source settings” select project rate. This will play the file back, frame for frame, at 24.000. Any audio will be sample rate converte to match project rate.
Michael
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If you are an AVID-L member, there has been a recent thread looking for Media Copy and installers for both have been added to to the “files” area of the group.
https://groups.yahoo.com/neo/groups/Avid-L2/info
Michael
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Right… cached waveforms was part of the 7.x release. I’m stumped at this point.
Michael