Michael Phillips
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COW Coin
Forum Replies Created
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Yes, you should be able to.
Michael
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Tim – All great points that I agree with, I was just commenting that the music streaming side only represented only $500M of the overall deal, but there was no way they were going to be able to buy just the streaming side, it was an all or nothing deal. To Apple, the music is the deal (content is king) and that alone was worth up to $3B. The headphones become the kicker in the long term value of the deal.
Michael
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In looking at the breakdown of the deal, the Beats Music side was only the $500M of of the $3B deal. So if that was what they were really after, seems like they could have saved some money. Not that the deal would have been done just for the streaming side, but interesting to see the value breakdown of the deal. In the end, Apple probably puts a lot more value on the streaming side and having to pay $3B was worth it.
Michael
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The Avid user guide has a lot of information on managing film based projects with the intent of going back to film.
For starters, you’re first going to create a project that matches the video format/resolution and frame rate – for example, 1080p/23.976. Then select the film format in order to generate lists.
Michael
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Is it a stutter due to playback, or there is motion stutter baked into the frames themselves? Remember that Media Composer’s source/record viewers only show 1/4 frame (or 1 field if in interlace), so what may look fine there, is not representative of the material itself. As a quick test, once you’ve identified a problem segment, export that section as sequential frames like JPEG and see if the stutter is in the media itself.
Michael
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I need to go back and look at MetaFuze. It has been a loooong time since I’ve used it. Basically since Resolve was free and it makes native MXF media. 🙂
But in your case, you’re trying to make uncompressed MXF which is not part of the Resolve export functions, so I can see your need to use MetaFuze. The last time I installed it, it wouldn’t launch, so when I get time, I will try again.
Michael
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You don’t need to add another video layer to display a different timecode count. Just choose 24 from the display for Master and you’re good to go. But for those editing 23.976 for broadcast, will most likely want 29.97 (30)drop frame.
Michael
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When you see strange names like that in the TAPE column, it’s because the original dailies were done incorrectly when setting REEL. Most likely done in Resolve, and I blogged about this here where I’ve seen both TAPE and SOURE FILE be black!:
https://24p.com/wordpress/?p=24You were lucky to have had the original filename still in the bin and copied it to another column. Many times is in the NAME column which people change and then you’ve lost it.
Since you do have the original file name, all you have to is AMA link to all your camera originals and do a relink to selected setting up proper source and timecode column.
I did a Moviola Webinar last week available for replay/rental where I show this process:
https://moviola.com/webinars/4k-with-avid-blackmagic-design/
Although it was geared towards Blackmagic camera files, the process is the same.
Michael
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Are you in a film project by chance when you see this?
The letters represent the pulldown cadence of that frame in context of a 24 frame edit with a 30 frame master:
|A1 A2|B1 B2|B3 C1|C2 D1|D2 D3|
In SD projects, it is possible to insert edit into a master and maintain 2:3 cadence which is preferable for 30i masters from 24 frame edits. I don’t believe Avid carried that feature over to HD (unfortunately). The information is also available in EDL’s for downstream processes to not only know frame, but cadence type.
Michael
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Can you do one more check for me? On your proxy files, add columns “TAPE” and SOURCE FILE” and tell me what is in either one.
Thanks –
Michael