Michael Phillips
1
COW Coin
Forum Replies Created
-
You now have clip color available in “frame view” of the bin. A feature that was part of NewsCutter, now in MC. One of those, I wish they would have also included clip type…
Michael
-
Are you sending true progressive RGB to Dreamcolor? That is the only way its color engine can properly display as Rec709. Usually this has to be done with an additional device. Allan Teper does a great job of keeping up on the Dreamcolor monitor and what is needed for it do what it needs it do. Here is his latest post as well as links to related blogs on the same topic.
https://provideocoalition.com/atepper/story/blackmagic-finally-removes-part-of-the-band-aid
The other issue, is even if “RGB” for web. most people do not have calibrated monitors on their system, so the same challenges exist there as well. Also, do not use Avid’s source/record GUI monitors as a guide.
Michael
-
You will first want to use the fasted connection you have available. Everything is defined by the weakest (or slowest) part of the chain. If it is only USB2, then that’s what it will be. If you can confirm two separate USB buses, then you might consider RAID drives across the buses to increase spindle and throughput speed, but many times, multiple USB ports on the same bus.
I am on an older MacBookPro that only has USB2, but I do have Thunderbolt which helps, but as I posted in my other response, AMA is dependent on a combination of things.
Michael
-
AMA continues to be a hit & miss proposition with many factors involved form drive speed, connection speed, length of source clips, and codec. Combined with editor expectations of number of layers (streams), duration of program for VFX,multicam etc., many will find that a transcode to DNxHD still may be the best solution. Some can edit AMA all the time and only transcode finished sequence, many cannot.
When you say “import” do you mean File->Import or an AMA link and transcode?The latter is much faster as it multithreaded and uses more cores.
As far as FrameFlex and re-frame extraction from the 4K image, you can try to stay AMA the whole time to take advantage of that, or if you transcode, do not check “legacy” when transcoding. This keeps the “metadata” active so that even if using FrameFlex to resize the event so when you relink/conform back to the camera originals, you can take advantage of the extra resolution. Just be aware of conform/transcode as it seems to be a logical method, you will want to render the timeline once conformed in order to maintain the expected quality. Something I blog about here: https://24p.com/wordpress/?p=160
Michael
-
Did the Lab give you an ALE file or some sort of log file of the transfer? Was the transfer to tape or files? The log will contain START and END timecode and keykode of each take, scene, take, and slate timecode. If it was really down and dirty and all they did was transfer entire camera rolls, and you are working off a burn-in only, that is another issue.
Was the transfer to SD or HD?
Once in Media Composer, you can subclip each take if not done via ALE manually. Load each clip into the source monitor, Mark before the clap or right no the clap if nothing was logged. Mark out at somewhere in the rollout of the scene where there’s a few frames of over exposure. The click the subclip button, or option drag the image into a bin. The clip will be highlighted, rename clip to something meaningful like scene-take, etc.
Once that is done, you can sync by timecode (if logged for each clip) or by slate by marking an IN at the visual and aural clip of the clips. If by timecode, then you can select all the clips and do an AutoSync. If not, then a pair at a time. The resulting .sync clip will take the name of the video clip. You can remove the .sync if you want to.
Edit away.
Michael
-
In the timeline, on any of the clips/events that I have colored, I right-click and export a 3D LUT. This defaults to a .cube. I then import that via the color settings and that is now part of the color transform menu selection.
Are you sure there aren’t multiple transforms being applied? That can happen sometimes when MC want to “auto-apply” transforms if it sees something in the metadata fields. Bring up the Color Transform column in the bin and see what it being applied. If more than one transform, the order of the transforms can radially change the way an image is being processed and that can be changed in the source settings/color transform window by dragging and dropping the “LUT”.
I did a webinar for Moviola that covers a lot of this and be seen here (for a rental fee): https://moviola.com/webinars/4k-with-avid-blackmagic-design/
If you want to send me your LUT I can import it and see if I am seeing the same artifacting you are on my footage.
michael[at]24p[dot]com
Michael
-
Does the same thing happen with non-C300 footage when you apply the same LUT? .cube is the one to use and I do this all the time, but not with Canon footage, so I cannot speak to this particular situation.
Michael
-
If you want to email me those two orignal bins, I will try to link them. I don’t need media. Mail to michael[at]24p[dot]com
Michael
-
Let’s deal with picture for now. As you can see from the screenshots, the AAF coming from FCP has a value in TAPE as “private”. in the AMA linked files, it uses the entire filename including extension and there is no match there whatsoever. either it as logged this way, or got lost in the translation process.
Somewhere, there needs to be a metadata match to use as the source name. If all the timecodes are unique and do not overlap, then you can add a custom column to the Linked Clips bin called Name2 or whatever you want to call it. In that file, on each of the video clips, add
private
to that column. Now you have a match. Save all. Highlight all the video clips, highlight your sequence. Right click sequence and select “relink.” At the top, select “relink to selected’. Halfway down where you have side by side selections, the left one relates to the sequence and should be set to TAPE or Source File with START timecode. The one on the right will be set to custom and you will all your columns. Select Name2 or whatever you named that new column. Select START for timecode. Turn off any matching case, etc. and click OK. Should link. Repeat for audio on your audio only sequence, then combine them back together.
Michael
-
Double system sync is always more troublesome when trying to relink. I would suggest taking the final AAF sequence you imported into Media Composer and duplicating it first, then remove audio tracks from one, then video tracks from the other and keep the relinking process focused on set of source files.
When you import the AAF – you probably got a lot of 24 hour source files. You can delete all those. Then I would look to see what came over as source REEL ID for the camera originals and how they were logged. These would be in the TAPE column or SOURCE FILE, but more likely TAPE.
When you AMA to your sources, put camera in one bin, and BWF in another for now to make it easier organization wise. Add TAPE and SOURCE FILE columns to those bins. There should be common metadata in order for a “relink to selected” to work.
It’s not the most obvious or easy method, but it can work with patience. If you can’t make any progress, I might have time to do a screen share with you and walk you through it.
Michael