Michael Phillips
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COW Coin
Forum Replies Created
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Your global headings have no value so timecode checks cannot be done since it does not know what timebase to use:
Heading
FIELD_DELIM TABS
AUDIO_FORMAT FILLIN
TAPE FILLIN
FPS FILLIN
VIDEO_FORMAT FILLIN
FILM_FORMAT FILLINShould be for 108p/23.976 non film project
Heading
FIELD_DELIM TABS
FPS 23.976
VIDEO_FORMAT 1080The other fields can be missing. Just a heads up that unless these timecode and some source value match EXACTLY you will not be able to relink or merge into any of the dailies. This has been a loooong time request for Media Composer. IF the sources come from the same source as in the good old tape days, then you could declare that value in the global as in:
Heading
FIELD_DELIM TABS
TAPE 001
FPS 23.976
VIDEO_FORMAT 1080But looking at the ALE there are no sources declared, and assuming a file based camera, every event will be its own source.
Michael
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In theory it shouldn’t. The AMA plug-in is developed by Canon, so it should support whatever firmware out in the field. But again, never say never, and a quick test should be able to solve that. Since you are hiring/renting these, can whomever owns them provide you with a quick couple shots and BPAV folder to verify beforehand?
Michael
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Sorry, meant get sequence, and not send to. 🙂
Just do a command-O from EDL Manager and navigate to bin with sequence. Once selected you will be able to choose whichever sequence from the bin (if more than one). If only one it will auto-select that one.Michael
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I would suggest opening the bin directly from EDL Manager rather than the “send to” which uses AAF. Generating AAF process seems to be the issue in this scenario. I have seen the changing tracks taking a long time – it’s a known bug. Still in v7 as well.
Michael
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Just zip that one up for archive, and work on the project itself as yours? If you actually want to have a project with your name in it, then it’s a NEW project into which you can copy all the bins from the other project.
Michael
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OS X: Cmmand-X then Command-V
PC – Control instead of CommandMichael
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[[[Jermey Garchow
Correct. And Avid wanted this certification/ratification. What other company is going to go through, what I am sure, is a long testing process? Apple?Will VC-3 be relevant in 10 years? 30 years? 50?]]]
It does not matter whether the codec is currently relevant 20-50 years down the road. What is relevant is whether the content owner can go back to the orignal sources if and when needed. Ratification is a lengthy process, but that what companies who serve the industry are requested to do by their customers in those markets.
Michael
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There’s a difference between open source and documentation of a codec available to all. I am fine with a manufacturer making codecs for whatever benefits it can provide as well as keep up with changes in new cameras and deliverables. For example, DNxHD is an Avid developed codec, but the code can be downloaded, or available as VC-3 from SMPTE. The optimized (speed) and name “DNxHD” is what is licensed. But speed aside, assets stored in DNxHD can always be decoded by someone, somewhere per the defined spec. That gives broadcasters and such a little more relief as to accessing their content whether Avid is around or not.
As far as what archives have value or not. That is the $64K question. You never know when it might have value. The classic example is Monica Lewinski wearing the blue dress. trust me, all those broadcasters were going through their archives for that one.
Michael
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How you archive is a moving target – but one less worry is not having your camera originals tied up in a proprietary format that may or may not exist in a decade’s time. If it were an openly documented wrapper and codec, one can always get those images back. That’s the whole point of SMPTE despite the time it takes to make anything a standard.
Michael