Michael Phillips
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COW Coin
Forum Replies Created
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These are really two different process:
1. Script Based editing is the window that hosts the text version of the script or transcript and allows clips to be added to user selected spans of the text. User can even manually sync the text to the clips if desired. The result is a list of clips with small black markers that indicate the sync points created. Clicking these will load clip at that position. There are tools to slide markers or clips or position in clip when loaded as a post process.
2. ScriptSync is what us purchased as a license and it only allows for the automated lining of the script via phonetic indexing of both script and audio in clips and doing a time align sync process. This removes the more tedious process of syncing manually which is slower than real time. ScriptSync can do this many many times faster than real time and will create a sync marker at every line if available in the clip.
In ALL cases, the result is a script that has sync markers and once a script is marked, it can be used on any system with the same media using the same source clips. There does not need to be a ScriptSync license on every system using the lined script as the interface.
What may be different in your case, is what happens in the case of a trial once expired. In my understanding, the markers should still remain on the script as the license is for automating the creation of markers and has nothing to do with preserving them once on the script. It sounds like there is another issue at play here. I have to give this one some thought as nothing jumps to mind unless there is something specific to trial versions.
Michael
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We’ve also just uploaded some preset bin settings for mus.iD metadata columns that are free to dwonload. If you’re using the plug-in you have a head start, if you’re not, you can see what you’re missing. 🙂
Michael
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Greg –
The AAF reporter application will ignore all effects, and just list them in the resulting file with START, END and duration of the sequence timecode along with other metadata that came with the file.
I hear you on the stock footage reporting application. The question will be whether I will get granted an AMA license to do that seeing as Avid has a stock footage integration and report as long as you purchase from within the Marketplace.
I blogged about a workaround for EDL’s:
https://24p.com/wordpress/?p=62Michael
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Keep the start as is its own sequence in a bin and edit it onto whatever sequence it needs to be part of. You can drag a sequence to the source monitor to do this. Double-clicking will always load it. Once dragged to the source monitor, you can edit as with any other source clip.
Michael
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Traditionally, most of the challenges I have seen with 23.976 in PAL based countries is in the mix stage where the rooms are set up and synced to 25Hz. It should be less of an issue these days though but monitoring could still be an issue.
As far as conversion goes (either now or later), is what type of conversion? The better quality conversion is to do frame for frame where everything is now 4.1% faster and pitch is now .7 semitone off (for those with perfect pitch and you’re doing a doc on symphonies…).
Or you can do “maintain duration” type conversion where frames/fields are added to compensate for the additional frames per second which can add motion artifacts on movement such as pans, zooms, motion within frame, etc, But in this case, no change to the audio sync or pitch (if needed).
Mix & Match within Media Composer is the latter, but would allow you to get started on the editing. Was this all single system recording or double system and sync? It’s going to come down to how your online will get and by whom, as well as sound post. Picture, as Shane points out might be better served to stay 23.976 but audio post has always been pickier in these issues.
I’ll be glad to jump on a skype call with your post supervisor or whomever to discuss if needed. Either way there are costs involved and thy should look at all the steps to make the best decision.
Michael
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It seems that Avid hasn’t been able to nail the expected performance with third party hardware vendors. It seems to fall between the cracks as either a limitation on the Avid/SDK side or with the third parties. Seeing as all the third parties suffer to some extent, it would seem that it’s more in the Avid SDK and how the player pipeline is accessed by third parties. There’s always chatter about it getting better (as seen in Avid community) but each release of MC or third party drivers don’t seem to fix it.
Maybe MC8.x.x.x.x?
Michael
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Do they have common timecode, and can automatically sync based on that?
Michael
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Have you tried capturing 23.976 SD on the fly from 29.97 video? In the Film/24p settings, you can set the “A” frame for on the fly capture. Assuming the down-convert is sticking to recommended 30fps NDF with “A” frame on :00/:05 then you can capture native 23.976. If it is not correct, then you can adjust the capture to B, C, or D to accommodate for proper cadence.
Michael
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Arbitrary resolutions and performance of all codec types will not be Media Composers strength when compared to Premiere Pro. AMA will allow linking to many camera formats, but despite what Marketing might say about instant editing, your mileage will vary based on codec type, amount of hours, length of each clip, etc.
Michael
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🙂
MC is a mishmash of workarounds. But I will stay away from quality issues and effective resolution when working this way unless it is for green screen shooting of people and tall things to be composited in, etc.
Michael