Michael Phillips
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COW Coin
Forum Replies Created
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Although a feature request from many years ago was the ability to allow keyboard mapping to stack multiple functions ala QuickKeys but withing Media Composer itself without the cost of additional software. In this scenario you stack both functions in the order you want them, “lift+G”.
While one can make assumptions that the next function from a lift is to keep marks in place to edit something else in there, that would just be a replace edit of some kind to start with.
Look into some form of keyboard mapping software for MC and see if it solves this one for you as well as gain other functionality while you’re at it.
Michael
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Did you ever merge an ALE from Resolve as part of the original workflow? Usually one of the columns of metadata is the original camera filename (usually Clip Name or Name). If so, duplicated column into Labroll or Camroll and generate an EDL. If not, then a manual entry into one of those columns will be needed to reflect original camera name.
Michael
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That’s exactly what it is – dailies were done in Resolve without the REEL NAME being correctly identified before the transcode was done. I would absolutely redo those to ensure a smooth conform.
These are the settings you need
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Import is a slow single processor process… you are better off linking and transcoding which uses more processors to transcode the media.
Michael
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That’s because Media Composer doesn’t recalculate based on samples from midnight but rather a conversion at that timecode in the file. If you were to look at that file in Wave Agent and uncheck “preserve” timecode, you will see how it gets recalculated. That’s why I’m recommending you make sure that all your BWF files are stamped with the correct rate so that Pro Tools or other downstream app doesn’t interpret the way.
Michael
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They will sync fine because of the 24fps video @48kHz recording. The issue may be downstream if Pro Tools is reconfirming from the original BWF files and uses the timecode/frame rate to find the offset in the file. That is when timecode may become an issue inside the BWF file. I would suggest opening those files in Wave Agent and changing the rate to match the other sources but do not have it recalculate the timecode. The timecode will be the same, but the metadata will be for the correct rate. Then import.
Michael
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Since there is no real frame rate for audio, it is more about 48kHz being sync with whatever frame rate the camera was running. In this case 24fps. When you import and select 24fps, it is calculating samples from midnight to create the timecode. So in this scenario, you will be in sync. Are you conforming audio in another application downstream? If so you will want to comment on those files and flag it as something to check if going back to original WAV files.
Michael
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This is as close an explanation I’ve seen on Media Composer architecture and how it uses the different resources for performance:
https://www.avidblogs.com/how-avid-media-composer-uses-a-computer/Michael
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Are you planning on finishing audio in Resolve? I find audio via AAF from and to Resolve to be very hit and miss, even for simple stuff.
Michael
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Are you just changing display or changing the “edit rate” as well in format tab? The former should not cause any issues.
Michael
