Michael Phillips
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COW Coin
Forum Replies Created
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A third option that has been used for decades in the film world, is comparing the two sequences with FilmScribe (or the List Tool in 8.3) using a Change List that compares two sequences and reports on changes from OLD to NEW.
Michael
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I gang them together as Shane mentioned, but then I just use the “go to next edit” button and go through it quickly. You could always cut one sequence on the upper track of the other sequence, and compare the same way or put a wipe and play it back.
Michael
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MXF is only a wrapper to the codec, so when you say “transcode to MXF” it can either be rewrapping the codec as MXF (a consolidate) which now becomes Avid managed versus AMA linked, or it might also include a transcode to an MAXF wrapped DNxHD codec. There are two things to look at here – when you transcode are you selecting an equivalent DNxHD codec data rate wise? If so, the issue might be the overhead that AMA imposes, so perhaps trying a consolidate (rewrap only) of the ProRes codec might be the answer. If you are transcoding to a smaller data rate DNxHD, then it is a throughput issue with either drive speed, drive connection, drive type, etc.
Michael
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Take the audio file that was recorded and open it in Sound Devices’ Wave Agent and reset the sample rate to 47.952. Import this into your original 23.976 project. This will change the speed/duration by .1% and compensate for the 23.976/24 fps issue.
I blogged and created a spreadsheet that you can enter values to calculate sample rate for different frame rates here: https://24p.com/wordpress/?p=195
Michael
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Same as source would be the exact same media files currently used in MC so go with that. Using the most recent versions of MC and CC, I have also been using AMA export of OP1a which is is a one step export of sequence without mixdowns and such to be done prior.
Michael
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If you “bake in” the transforms when creating the DNxHD proxy media, then that is lost and can only be retrieved by relinking to the sources. How it affects group clips, I don’t know for sure as that has been a little hit and miss when working the two together. The other option would have been to transcode to DNxHD yet keep the “metadata” for either FrameFlex, Color, or both. In that scenario, there would still be a green dot on the clip in the timeline.
Michael
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Try a video mixdown first before exporting and see if that helps. Video mixdown is in the “special” menu. It will create a new master clip in the bin. Create a new sequence with your audio and export again.
Michael
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Also make sure that in the settings tab of the FIND window that indexing is turned on.
Michael
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175/175x is ~4.5:1 compression compared to uncompressed 1:1.
So if for mastering, and they require no more than a 5:1 compression, then DNxHD 175/x is the way to go as Shane mentioned. 45 is used for offline proxy editing where storage is a priority.
Michael
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Using DNxHD 36 as a comparison to uncompressed HD (1:1), it is roughly a 22:1 compression. 36, 40, and 45 are all in the same compression family and only differ based on frames per second. 36 is for 23.976/24 fps.
Michael