Michael Phillips
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COW Coin
Forum Replies Created
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If on a Mac, then do a mixdown to ProRes, then export SaS with the direct out for audio.
Michael
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Have you selected “direct out” on audio for export?
Michael
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You renamed tracks as different numbers? That’s a trick we play on Assistants to really throw them for a loop.
Try resetting timeline to default view which should order the tracks as Avid seems them internally. If renaming, don’t just use a number, or make that number unique like V01 rather than V1 to tell it’s yours.
Michael
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I would download a trial version of 8 (or 8.1 in the next few days) to see how it works for you. You system specs seem fine. It has been a while since I have played with Sony Vegas, so from a UI/function similarity perspective I cannot add much. But you will notice a performance different between the two depending on formats, (your shooting format should be fine), but the ability to do other things while timeline is playing, tweak video effects while media is playing, etc, cannot be done in Media Composer.
Michael
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Naming form audio file has been a long time request, but there is a workaround for it that is not too painful:
1. Before syncing, highlight “Name” column for BWF imported files which have the Scene/Take info.
2. Created a customer column like “Name2” and duplicate entire “Name” column into it. (cmd-D or ctrl-D depending on OS)
3. Sync clips in bin via AutoSync.
4. Move .sync clips to their own bin, highlight “Name2” column and duplciate back into “Name” column.
5. Done.Michael
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You should be able to take all your hard work (.sync) clips and consolidate those. It will create a new set of clips. Move those to their own bin, copy project, bins, and media in Avid MediaFiles folder from Mac to PC and it should relink.
Michael
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Was there not common timecode to sync from to start with? Why the need to make a sequnce and sync? If common timecode, select all the clips and in one operation sync on common timecode. Doing it that way allows for color or frameflex to be used. If if not common timecode, Mark an IN on other V and A clips and sync pair by pair will allow you to sync as well.
Starting from a sequence brings different limitations. See my blog at:
https://24p.com/wordpress/?p=163Michael
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A phonetic based technology can also derive language identification and does not need a super computer. Nexidia already provides language ID for some of its solutions now for any of its currently supported languages. From a dialog search, I can search based on Canadian French versus France French, etc.
Latest release of their QC product includes identifying dialects for certain languages.
Phonetic language modeling can be done for languages that do not exist.
Michael
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As mentioned, I too agree that it best to archive camera originals, but in this very special case, other than the file name, the essence is exactly the same and can easily be recreated by a SaS QuickTime export. Naming is a matter of a column duplicate before export.
That being said, the work to back up Avid media is the same as backing up camera originals, overall process wise, a bit easier and faster to back up camera originals and can be done as part of the organization process. I would also suggest using a tool like ShotPutPro that does a copy verification, or as in your case, you have QC’d all the camera files as part of the consolidation process.
The costs of backup and archive is more challenging based on many factors, size of media, cost of media and storage, occasional maintenance of media (spin those drives up from time to time!), and project’s budget to deal with that as it is rarely considered as part of the bid.
In some cases, the shooter (if a different person or group) will also do backups of the camera originals.
I am a solo producer/editor and I do the following for content that I own:
– 2 set of hard drive backup of all originals at one location. This is my quick access when and if needed.
– LTO of all hard drive back up of originals and all final elements of program (media, graphics, audio, mixes, etc) stored at a different location and is my medium length archive. LTO support for any one version is ~ 14 years and keeping a tape reader that supports it, etc.
– Program only assets also stored in Amazon Glacier as my deepest and offsite storage.: https://aws.amazon.com/glacier/Michael
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One of the challenges facing a lot of these technologies is quality of recording and quality of speech. Volume, emotion, accents, whispering, etc. all affect the success of a speech to text engine, not to mention that the words have to be in a dictionary. Dictionaries do not represent entire languages, names, etc. are usually missing.
You’ll find on average, perfectly recorded, pronounced at a steady pace, has about 80% accuracy.And you’ll be amazed at how much you miss that 20% to make things truly useful. Premiere Pro’s speech to text is a good example of that.
This is the state of speech to text today, who knows over the next 5-10 years, but many companies have been working on this for the past 50 years.
Speech to text, and phonetic based technologies such as the Nexidia solution are very different technologies each with their own distinct advantages and disadvantages – just don’t expect the same functionality from both of them for all things.
Michael