Michael Phillips
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COW Coin
Forum Replies Created
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I did notice that it worked on my PC based 7.0.3 system, but not on a Mac based system (7.0.2). I will try with 7.0.3 on a Mac to confirm whether it works there or not. In the meantime, you may want to try new user settings to see if that changes anything.
Michael
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Another question that might save a little time, is did you merge the ALE from the REDCINE X export into your clips? There may be a column in there that has the original WAV file name that you can use with “relink to selected” with a little copy/paste into the SoundRoll column.
Michael
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As much as Redcine X and Resolve are improving in areas of double system sync workflows, they still need to do a bit of work with the metadata to make it easier to deal with in downstream processes. I still prefer to sync all my dailies in Media Composer as it keeps all metadata from both sources active.
That being said, your sequence refers to source clips that only have the R3D file name as source. In your case under the TAPE column as they were created in Redcine X. The filename should be the R3D name on the WAV file as in A033_C011_02103I but the WAV extension at the desktop will look like A033_C011_02103I.wav. You can import those into a bin and you will see that name in the Source File column (not tape) unless you open each one of those files in Wave Agent and add the corresponding R3D file name to the TAPE field. In this example, A033_C011_02103I.
Once that is done, you will take your sequence and do a “relink to selected” where “selected” are the newly imported BWF files. You will have to tweak your settings a bit, but once you get that far, hit us up again and we’ll get you over the finish line.
Michael
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It will most likely work fine, but depending on codecs, drive speed, etc. mileage may vary. The good thing about the 30 day full functioning free trial for Media Composer is that you can download it, test it in your workflow and platform/hardware and know exactly how it will behave.
https://apps.avid.com/media-composer-trial/
Michael
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A great book with lots of shortcuts and tips in context of a working feature editor, Steve Cohen’s “Avid Agility” is a great book:
Michael
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That should work, just make sure that start of the audio file in MC is the same start in the original WAV file. Typically sound starts “rolling” before camera and will have different start times.
The other issue you will have is what is the “source” name being used? In order to conform or relink you need a common source/REEL ID and timecode. In your scenario you are fixing the timecode, but the filename should also match the sources from an EDL generated from your reference edit – which would be the R3D filename.
Michael
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First question is whether the 1080i sources you are working with were acquired as 1080i or were there other frame rate rate or progressive footage in the master that was then output as 1080i. The footage would then have pulldown and other artifacts from the orignal sources.
The worse scenario in frame rate conversion is 29.97p to 23.976p. If in your case, it is truly 1980i, then the motion artifacts can be minimized, but based on content type and motion, it will still not be as smooth as you would like it to be. You have 59.94 fields of motion of which to create 24 progressive ones. Avid’s mix and match can do an OK job, but it does not compare to a conversion with a Teranex or Archangel hardware devices available on the market. A lot of people swear by Magic Bullet’s conversion and was the go-to tool back before 24p cameras flooded the market. That is still available.
For Avid mix and match, capture the footage in a 1080i project. Open that bin in a 1080p/23.976 project, cut it into a sequence and it will have a green dot. Transcoding it will do its best to create 23.976p. You can change the type of algorithm used for the motion effect (which it basically is) to another type, but Avid defaults to the “best” real time conversion available. The only other real choice is to try FluidMotion for the problem areas but that is a longer render and creates other artifacts related to pixel estimation and such of objects. But worth a try.
My recommendation for quality would be to take your tape master and have someone with a Teranaex create a new submaster for you that is 23.976p and work from there. If you want to buy one, they have dropped in price significantly (US$ 1,999) since being acquired by Blackmagic: https://www.blackmagicdesign.com/products/teranex
Michael
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Relink is a process that is accomplished by having a common source ID and timecode. The issue in your workflow is that it doesn’t have this, and the fact that you are doing it after the fact. In this scenario, syncing should have been done prior to editorial so that a “conform” to non timecoded (or non-matching) could occur. You may very well have to match each of the synced clips and do an edit-overwrite.
Michael
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And to add on to Oliver’s great info, note that disaster recovery from SSD drives is extremely difficult to impossible. Not that I have first hand experience in this, but is what I heard from reputable drive recovery services. As with all drives, some sort of automated backup system should be in place.
Michael
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An Avid RGB_709 project still has blacks as per SMPTE video at 16 and whites at 235 (using 8 bit terms). Same for 10 bit.
Michael