Michael Phillips
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COW Coin
Forum Replies Created
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I would also not do it directly out of Media Composer. I would either export an QT refrence, or same as source, and encode in MPEG Streamclip, Adobe Media Encoder, Compressor, Resolve, Sorenson Squeeze, etc.
Michael
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Instead of deleting post, perhaps you can share what you did to fix it so someone else in the same situation can benefit?
Michael
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Once you import the AAF into the 59.94 project, just open that bin in the 50i project and use the sequence as source when editing into a new timeline.
Michael
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Are you referring to original camera files/tapes or Avid media and copy it over? If the latter, AMA does not come into play.
exFAT makes for a nice shuttle drive between OS’s, but people have run into issues using it as an actual media drive during editorial. If using exFAT, then copy from Mac, then onto another drive on the PC. Or, you can do HFS on the Mac, and get a 5 day trial of MacDrive from MediaFour and copy it all off to an NTFS drive on the PC:
https://www.mediafour.com/products/macdriveThen copy Avid project from the Projects folder and add it to same shared projects on the PC. Just make sure that the Avid MediaFiles and OMFI MediaFiles (if used) folders are at the root level of whatever drive is being used.
Michael
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And just for giggles, take one of the longer clips, subclip it in half and see if it works. Also try subclipping the entire duration as video only and try that. I’ve seen strange AMA transcode behavior with longer clips and VA…
Michael
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Are you using the latest version 7.0.4?
Michael
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While it is standard operating procedure to do so, I think the whole concept is getting long in the tooth and is based on conventions set in the 90’s. Especially with AMA (a fully developed AMA), frame raster and raster type should just be part of the source settings when linking. But having to create a project and manage separately just to set those values is a pain the ass, and project association becomes more problematic, etc. And even when in the project you can change “field motion” anyway, so it just becomes multiple levels of obfuscation.
The same goes for codec choices within the same project. Why have to change project type to transcode to RGB 709 and vice versa? Just pick the one you want and let the computer figure it out.
The same could said for timelines. a project becomes an association of all elements for a given project regardless of sources and delivery timelines.
Now what does come into play as Pat mentions is transcode, but even that can be managed during the transcode selection process with a “preserve source rate or project rate otion” (if projects are still locked to a single rate and raster) or any given target/raster rate.
And while on topic, don’t make auxiliary timecode such a lossy field. When trancoding from one rate to another, there is no reason to lose its original frame rate and ability track it. There are plenty of columns for tracking every kind of timecode rate known. Currently any values being tracked in the AuxTC columns disappear after a transcode.
Michael
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Are you turning hardware I/O and off by chance?
Michael
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It remains to be seen whether this is a Baselight issue, or have they exhausted what is possible via the AVX architecture they have to work with?
All the metadata for clip relationship in my opinion should be applied to all AVX effects and not just part of Avid Symphony color correction. That becomes a platform play for all third parties to have something to build on and take advantage of within their own solutions.
But that gets another discussion going as to how long should Avid hang on to the AVX plug-in architecture versus adopting the more industry standard of OFX? This would allow plug-in manufactures to spend more time on the functionality rather than developing specific plug-ins for Avid which is the only AVX consumer on the market and from a sales perspective, a much smaller market to develop for when compared to systems supporting OFX. And the byproduct is that Avid users would benefit from economies of scale and not pay more for the same effect based on the fact that is is AVX.
Maybe there are plans to do so, maybe or not. Perhaps it’s tied into the whole Avid Everywhere vision and the marketplace? We shall see.
Michael
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I mentioned this before…when using AMA, you will not have any values in the TAPE column. They will all be in the Source File column. That’s how it works. When EDL Manager generates an EDL, it will first look to a value in TAPE, if none, then it will use SOURCE FILE.
The value in SOURCE FILE is always the name of the file when it was linked. If you were to conform these very same files in Resolve, you would set the REEL to “file name” in the “assist conform using…” setting.
The only issue here is whether the proxies kept the exact same filename as the camera originals. If so, no issue, if they didn’t, then that is something to look into and most likely will mean starting over.
Michael