Michael Phillips
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COW Coin
Forum Replies Created
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I agree that you always keep camera masters, but in this case, the situation is a bit different where the only difference is the wrapper and nothing has changed to the essence. In this case, you can recreate the “camera masters”, or in this case, the “ninja masters”by exporting SaS of the master clips to .mov and duplicating the Source File values into Name beforehand.
So in this very specific case, and the fact that there are three sets of MXF media backed up, I think it’s a safe bet.
But… am always willing to be wrong and find out if I am missing something in this particular situation.
Michael
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Except that unlike ScriptSync, there is no unified view of text and all related clips.
Michael
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You will be fine sending an AAF to Resolve and point to your Avid MediaFiles folder in the Media Pool. When rendering back out of Resolve, just create a new numbered folder in the Avid MediaFiles/MXF/ to better manage the corrected media from the uncorrected version.
And seeing as you have three versions of the media, and other than wrapper, there is no difference, then grab a shot of your favorite libation and delete away.
Michael
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From a picture quality perspective, there will no difference in your final conform using the consolidated, MXF wrapped DHxHD 115 or the original .mov wrapped version other than the unpredictability of QuickTime as a wrapper.
But you do want to follow recommended procedures for backup and archive. If the only copy of the media is what is in your Avid MediaFiles folder, then that would make me very nervous. So either backup/archive your camera originals, or backup your Avid MediaFiles folder. And remember the rule of thumb when backing up: 2 is 1, and 3 is 2. Keep sets of drives at different locations.
Once you’ve mastered the program, then you can decide the value of the backup archive and perhaps keep one backup of all originals and one of the consolidate program.
Michael
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Is this using shared projects and bins? Can you copy the script files from the other project and replace the ones in this project and try again?
Michael
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What monitors are you using for reference when looking at this images? I would never trust the source/record GUI monitors for any critical or even pseudo-critical color decisions. If you are using a LUT>709 then you should be looking at a Rec.709 calibrated monitor. The GUI viewers are truly for editorial reference. They don’t even show the full frame, it is either 1 field in interlace projects or 1/2 frame (segmented) in progressive projects which is something to keep in mind when doing motion effects, and judging frame rate conversions and FluidMotion. I still get caught by that myself.
Michael
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I would argue that rotate is needed for video as much as still to even out horizons. etc. from a variety of shooting situations and not only for stills.
Using Avid 3D to rotate, regardless of being linked with FrameFlex defeats the whole purpose as it can only work on the scaled output of FrameFlex (project size) as with all other effects. Stabilize for example would clearly benefit from the extra pixels…
FrameFlex is another one of those promising starts that needs to be completed to be a complete solution. We shall see what versions of 8 bring.
Michael
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Yes and no… but mostly no depending on the implementation.
The most common way to get source information into a bin is via ALE and it various settings; this will create new master clips, subclips, or merge info into existing clips etc. The ALE format has been in use since version 1.5x in 1990. And while still useful and used on a daily basis, it is getting long in the tooth for more modern workflows.
For example it does not support markers or spanned markers as part of the source metadata exchange. It can’t even roundtrip its own new clips color designation…
Markers on the other hand, can be exported and imported via a version of ALE and now XML but it is for Markers only. Arrrgghh. And only works on sequences. When Avid implemented XML import/export of Markers in v7 I questioned why they couldn’t include support for multiple source clips in the same structured XML?
The “yes” part is that it is possible with AAF, but AAF is way too complicated a format for simple stuff, is a binary file, and needs a different skill set of engineering to work with. But it is a method if you have those resources at hand. I have always felt that lack of a good XML structure for I/O has prevented a cottage industry of third party applications creating additional solutions for Avid.
With the announcement of Avid Everywhere, Central, Marketplace, etc. maybe there is something in place to make that easier for developers.
Other source side solution for you might be AMA which you can get a license for from Avid. But it combined essence and metadata, and not just metadata on its own. I created a mus.ID AMA plug-in to grab all the ID3 tag information when linking to songs as it was being dropped with other Avid methods of import or linking. It also offers an option of drag and drop reporting of the AAF to a spreadsheet for all songs used in the sequence with timing info. You can see a video and demo at https://www.mus-id.com
But the addressable market is smaller seat wise compared to other NLE’s and Avid does not have the resources help market the third-party solutions so you are pretty much on your own once a solution is developed.
So in many cases, it is a “wait for Avid” to offer the solution as it is difficult to interact with the editor itself for metadata other than via ALE in its current state or AAF. Nothing in between.
Michael
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It’s the user settings. In project window select setting tab and create a new user. This will start you with a all new default settings for Media Composer.
Michael
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And don’t use Autodetect, it is very hit and miss. It will always try QT AMA if it can’t figure out and that is not always a good thing.
Michael