Michael Phillips
1
COW Coin
Forum Replies Created
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From the bin, select all the masterclips you want to export. Do a file export and select audio WAV as your format, and you’re good to go. Each masterclip will be a new WAV clip with the same name as seen in the bin.
Michael
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I can’t speak directly to AVCHD as it is a codec that I have never come across in my work, but from what I understand, it is not one of the friendliest codecs out there.
Michael
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Was this from a transcoded sequence to DNxHD before exporting?
Michael
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If nothing else, AMA linking and transcoding is at least 2x faster than an import (which transcodes on the way in) due to the multithreaded nature of AMA. With AMA, there will be a transcode at some point in the process – many folks take the hit up front while some can get away with editing with AMA and then transcode the sequences for whatever steps they need to do next. Each project kind of dictates its own method depending on a lot of factors such as codec type, speed of drives, amount of storage, etc.
Michael
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That was it – something about a java license. But I would think in this day and age Avid could figure out another means for downloading older versions that did not rely on a java license?
Michael
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There as a notice that was sent to all customers that older versions of software were no longer going to be available for download for whatever reason I can’t recall. I would suggest to log onto the Avid Communities and make a request there and Marianna Montague will come to your rescue.
https://community.avid.com/forums/
Michael
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Have you installed QuickTime 7 player? I have the same issue on one my systems that does not have it, and OSX QT player does not see the codec, but if I drop the QT reference in MPEG Streamclip, it sees it just fine. I hear Mavericks is even more stringent on what it considers codecs and in many cases does a transcode to ProRes or H.264 before seeing it in the player.
Michael
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If the footage aspect ratio is truly 4:3, then it will have pillarbox. If the content is anamorphic, then a stretch will do the trick. In cases where the footage is 4:3 – usually you want to keep all the pixels when doing an HD uprez (or transfer from film) and then deal with it as pillarbox, or a pan & scan or tilt & scan in this scenario if you want to create full 16:9. If not, then it is pillarbox. MC only knows 16:9 in HD so if you want a 4:3 file at the end of the process, export 16:9 pillarbox and do a crop in an encoding application.
Michael
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Since the sequence contains clips that already have the full 6 characters, you are all set. The next steps get a little wonky as it is not as straightforward as one would want it to be. I have heard of the process being referred to as “needing to be a relink whisperer”. It can be done with some tweaking. If you want to send me a zipped bin that has the sequence and all the clips you are trying to link to (AMA I am guessing?), I can try the relink to the clips and send back the bin. In theory, it would then relink to the media, but at the very least I can tell you what the settings need to be
michael[at]24p[dot]com
Michael
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The issue is if they want to conform at higher than HD, Resolve cannot recreate all the effects done in the sequence. If HD was adequate for the final master, then they could certainly conform in Media Composer (no symphony needed for this) and send off to Resolve for color correction.
If that is the workflow, then you want to make sure you have all your camera originals conformed without any LUTs or color influencing going on the shots being sent. Also, DNxHD is a Rec.709 codec that can contain full swing of black and white levels, but may not be as robust as going back to RAW sources, or 12 bit LogC 444, etc.
Michael