Michael Phillips
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COW Coin
Forum Replies Created
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Yes you can as along as you keep the Avid MediaFiles folder at the root level of whatever drive you are copying it to.
Here is what my Avid MediaFiles folder looks like right now. I have numbered folders I keep for organizational purposes. As long as it is a number, MC will index any new material being added to it. MC will always want to start with 1, then 2 when it does its trsnscodes and renders and will switch to the next number from there when it reaches its limit. Depending on projects and size, I will start with 11 for day one of a project, then 12 for day two, etc. leaving the first 10 folders for MC to do its thing.
Michael
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What happens if you import the msmMMOB.mdb file into the bin, do you see any clips? Typically issues here is that the REEL is not properly set in Resolve which gets translated into the TAPE field for Avid. See my blog here on this issue:
https://24p.com/wordpress/?p=24
Once you import the msm file as per above, look at the TAPE column and see what it is displaying. Does it match the TAPE column from the AAF import?
Michael
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The following screenshot shows there is no difference when working with a different frame rate clip than the project whether it came from another project or directly AMA linked in the bin. The clips have the same behavior. The project is 1080i/25 linking or opening 1080p/23.976 clips. What is scary is that a transcode is always lossy – notice now the AuxTC1 column metadata gets deleted. There could also be some refinement as to Field motion. Transcoding progressive footage does not make interlace motion yet it shows up as interlace. This can be changed to progressive as needed. But this goes to show that it can be done and having to manage every format/frame rate in its own project is a pain. And if there is a transcode,even more, not to mention sending the AAF to an online facility that now needs to conform to original masters. It can be done – just needs a better design/implementation.
Michael
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With the project window active, go to the EDIT menu and change the font to something else to see if that takes care of it.
Michael
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Glenn brings up good points as well, but there is no reason that Avid cannot do it right as it has all the timecode columns to track any rate as well as different pulldown cadences for any of the rates and has always done do in the SD world of 24, 25, 30, etc. I am just saying that for a company that markets the best in media and metadata management, there is no reason why the full tracking could not be done as it worked in 5.5 metadata wise.
Michael
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I disagree. Avid could engineer the ability to manage all timecodes regardless of which project a file starts in as it can be defined by the essence or at time of link. When they introduced “transcode” in v6, they didn’t go the extra step of keeping timecode for whatever rate as there are TC columns for every frame rate and pulldown possible. v5.5 used to have two comments in EDL, one was for original frame rate and one for a motion effect should an additional one been applied. This falls in a feature being half implemented. I blogged on how I relink back to originals with a direct link and transcode by going through the step manually. If it can be done manually, I would bet it could be done by a computer. This fell into the same response as frame for frame mixed frame rate: “it’s coming in the next release” and it never does.
https://24p.com/wordpress/?p=22
Michael
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Yes, you will be able to relink.
Michael
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Won’t matter at all. The codec doesn’t affect the metadata needed to relink back to camera originals or higher rez media.
Michael
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You will need to define what your project frame rate and rsoltion will be to start with. Let’s say 1080p/23.976. Any other frame rate and resolution will then be scaled or frame rate matched to work in that project type. A 720p/59.94 clip in that project type will be:
1. Scaled to 1920 x 1080 automatically
2. Frame Rate Mix and Match will automatically apply a motion adapter with the deffault always being maintain original duration. So a 1 minute clip at 59.94fps will still be a 1 minute clip when opened in the 23.976 project. As you remarked, you can cut the 59.94 clip into a sequence and then change the motion adaptor to be 100% (at 23.976) resulting in a 2.5x slomo from the 59,94fps material. Use that as a new source.It would be great and long overdue that Avid add frame for frame as an option via AMA or not within project types.
Michael
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Unfortunately, there is no file-based universal mastering, only playback as part of a digital cut process to tape. I blogged about this in July of last year:
https://24p.com/wordpress/?p=6Also, while Media Composer can link to assets greater than HD via AMA, it is not a 2K+ editing and finishing system. All assets are scaled to HD or an extraction can be done from the higher resolution and then scaled or not depending on size of extraction. That is via the FrameFlex feature.
Timelines are still tied to project type and there cannot be a different frame rate timelines in the same project in the sense that it will always be frame rate matched to the project type with motion adapters. So you cannot play and edit an NTSC timeline while in a PAL project without the NTSC material being motion adapted to be 25i or 25p (again, progressive and interlace being tied to project type).
Maybe in the future – but for now it’s the same it’s always been.
Michael
