Michael Phillips
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COW Coin
Forum Replies Created
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Are these screenshots directly from the MC GUI? Were they both taken in green/green mode in the timeline? Even them, an interlace project never shows both fields, only one (1/2 frame) and seeing as source is a progression still, it will be very similar to a segmented frame concept.
If this is not a screenshot of the MC GUI, and are for example, full frame export from the timeline, then there is some funkiness going on –
Michael
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I would still recommend using Resolve over After Effects – especially if making proxy media for MC and the final conform/correction will be from the DPX. Make native MXF wrapped DNxHD/Hr of your choice with or without LUTs, or uses ASS CDL, etc depending on color management needed.
Michael
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Why the need to make Quickime wrapped DNxHD at all and go through those steps? If Resolve (and most other dedicated color correction systems off the same workflow) is to create native MXF wrapped DNxHD directly. Also, putting each shot into its own folder might benefit other workflows, but not an MC one necessarily.
A couple “if’s” but IF Resolve, and IF it is only color and no other changes to the timeline, then render out individual clips as MXF wrapped DNXHD directly to, or copied to if done elsewhere, directly to Avid MediaFiles folder. Preferably a new numbered folder reserved for this to aid in organization. The highlight the timeline on the edit tab, export AAF (not new AFF) and import that. Everything links and your original timeline is preserved as afar as layers and effects. If the colorist did change something other than color, then I would still put newly created MXF files into their own folder, and import the MMsB mob file that will populate the bin then do a relink to selected.
With both methods, I would make sure you properly set the REEL in Resolve to match original names used in offline, or original file name. And I always add handles during render/transcode in case you need to make changes once back in MC.
Michael
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Your understanding of conversion is correct = in order to have the same program duration across different frame rates, frame/fields get blended, dropped, etc. Some methods are better than others, Hardware based conversions of signal based formats tend to offer better quality in what is a real time process. Software based formats have a range of qualities.
MC has Mix and Match which does frame/field blending and is real time. Quality is OK, not great. Something for you and your clients to decide.
Speed up (frame for frame) is the best quality as there is no messing with picture other than playing faster/ Audio needs to have a sample rate conversion and potentially pitch correction.
What I suggest you do, is set your master TC above the sequence monitor to 25 rather than 24 and cut to your required durations. That way, when sped up, that’s what they will end up being using speed up method.
Michael
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I wish Avid would allow the 2MB version in progressive projects.
Michael
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The power of “the cloud” and remote editing/collaboration cannot be denied, and how work gets done moving forward will continue to change. I wanted to be clear about Avid Everywhere and that the term is a grand vision that includes most, if not all of Avid’s products and solution whether or not they are on the cloud or not.
The cost of entry (like Adobe) is geared more towards facility and enterprise. If you want to try “cloud editing” you could look to Forescene to get a sense of collaboration that has always been and only is a cloud solution. I am sure there are large broadcast clients looking to enable this. I can see education taking advantage of this as well.
Michael
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AVID Everywhere is a very top level name that encompasses almost everything Avid offers. Under this banner you get Artist Suites (which includes Media Composer and Pro Tools, etc.) Call it very clever or confusing, but I have seen press releases that say “feature film “such and such” used Avid Everywhere to…” and I think, “wow, they used remote cloud based editing for that?” And in reading the details, they used Media Composer, Pro Tools and ISIS shared storage. All of which falls under “Avid Everywhere”. I have to admit it made me look, but then I realize it’s no different than most studio level films using Avid products.
What you are asking for is Media Composer | Cloud. More info on that here:
https://www.avid.com/US/products/Media-Composer-Cloud
Hard to tell from this the status, as it is says “coming soon”. I thought it was out already. It is a facility/enterprise type solution requiring ISIS, Interplay, then the components for the streaming portion. Michael Kammes’ 5 Things series goes over the Adobe Anywhere solution which is their solution for remote and collaborative editing. Perhaps he will do an Avid one as KeyKode is a top reseller for Avid Solutions.
Michael
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Alright… I got one of the entries to import as an ALE and merge into an existing clip in the bin you provided. I think the fundamental issue is that your comments fields is waaay to long an it crashed my v8.3 Media Composer several times. I reduced the number of characters of that field to <128 and it worked.
For ALE import, I changed Source File to Tape
To merge I kept Source File as Source File.ALE and updated bin attached. I only did one event, but you should get the gist…
Michael
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There as no link in the posting, and I only need the file that Excel has updated to get started.
Michael
