Michael Phillips
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COW Coin
Forum Replies Created
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Are you in an SD or HD project? If SD, what are your media creations set to? After you do the consolidate, right click one of the .new clips and select “reveal file”. What is its folder path, OMFI or MXF?
Michael
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Looks like 10.8.5 is the OS needed according to the Knowledge base article:
https://avid.force.com/pkb/articles/en_US/compatibility/en267087Michael
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There are a couple ways to do this:
1. Put sequence into its own bin (just to make management easier)
2. Highlight sequence and select “consolidate” from clip menu
3. Select your external drive and any handles you might want to add this method will move what is in the sequence plus handles.
4. Click OK
5. Your bin will now have a new consolidated sequence as well as a lot of .new clips.
6. Open this bin in the same project on another system with the target drive attached.Or.
1. Select sequence in bin
2. Select AAF as export type
3. In the picture and sound settings, use “copy media” to target folder (same as AAF target)
4. There may be some other options, but I am not in front of my system right now.
5. Click OK and let it do its thing
6. Copy bin with sequence and drive attached. Make sure the MediaFile folder path created is at the root level (Avid MediaFiles folder).
7. Import exported AAF into projectThe user manual has pretty good explanations of both these methods – look up sequence consolidation and AAF export options.
Michael
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I agree. It took me a few times to get mine setup with the different accounts as well. But once it’s done, you should be good to go!
Michael
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MC 5.5.5 is available in the Avid Download Center. Just log in with your credentials.
Michael
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Media Encoder may have done some form of frame rate conversion to start with. Assuming the 60fps original was progressive as in 59.94p? And the resulting 29.97 file, was it progressive or interlace? Timecode will be 29.97 for either 29.97p or 29.97 interlace (59.94 fields). If going from 59.94 progressive to 29.97 progressive, and single frame will have blended motion unless there was a deinterlace process and one of the frame dropped (cutting your vertical resolution in half and scaling).
This then somehow got turned into 25p using Avid Mix & Match which maintains duration by some combination of frame blending which adds another pass of ghosting. You also want to make sure that you are looking at your timeline in green-green mode, or better yet, export a full JPEG/Tiff to compare final output.
I wrote another blog of what motion effects did in progressive projects and what the different settings can so. Blended of course creates blended frames while duplicate does not, but will drop frames to maintain time.
You can read about that here: https://24p.com/wordpress/?p=203
You have the ability for each motion effect (once promoted) to change the type of algorithm used.
As far as not being able to open 25fps in 29.97 project, I have never heard of that. From the 29.97 project you open the bin with the sequence from the 25p project. When loading into the timeline, it will prompt you to change frame rate to match project.
Michael
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Why would the high rez versions be at a different frame rate than the low rez versions? Frame rate conversion in Media Composer is geared more towards real time performance than it is for quality. High quality conversions are usually done with dedicated hardware based systems like Teranex, Snell & Wilcox, etc. Also, 25p to 29.97p and vice versa is the worst of scenarios to deal with. 25p to 29.97i (59.94 interlace) can look OK if viewed on an interlace monitor, but ghosting will still appear like any interlace with movement on a progressive screen – field blending with no motion compensation. You can change the motion effect type to something else and remove ghosting, but it does so by dropping frames – so it’s up to you, and what you think looks best for your primary delivery requirement.
Michael
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I agree that it is an interesting showcase for what can be done not only for traditional broadcast, but as mentioned for other scenarios such as museum, education, digital signage, etc. D-Box is another example of this: https://www.d-box.com/
I designed MetaSync for Avid Media Composer back in 2000 for just these types of delivery. It was a platform solution allowing different groups to create assets and timing, duration, and preview was available during editorial to manage the interactivity with the programming. All its assets could be updated via the web directly from the timeline via refresh. Then all timing of each each asset was exported as XML with all timings calculated for universal mastering and theatrical. HTML based assets could be previewed as an overlay or “Bloomberg” effect in context to video. Interactive assets could also be “AytoSynced” to sources should they always need to travel with that source opening up links to external databases, and such with each assets having the ability to open in its native application directly from a bin or timeline. The patent for that was just recently granted, it spent a lot of time at the examiner’s office. 😉
Sadly it was a bit ahead of its time in 2000/2001, and did not get the traction as Internet and “second screen” was not as pervasive back then at the user level (smartphones, apps, and such), but the architecture and solution was right on to develop interaction in context of story during the editing phase. The NAB demo in 2001 used timing of doll reaction (Mikey and Sully from Monster’s Inc.) that were timed to a show and then embedded using psycho acoustic masking in the audio track. When broadcast, the dolls would pick up on that and react to the show as defined during editorial.
I am working on projects now, where I could really use this type of platform during editorial, but alas, Avid removed all MetaSync functionally from Media Composer in v6. 🙁
Michael
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I am still seeing this same issue in 8.3 when changing values/LUTs in the source settings in the color transform tab. But my sequence does update (Clip/sequence refresh) with the changes so it will be there for you when not in multicam edit mode. Something Avid needs to address, hopefully in an upcoming release.
Michael