Michael Phillips
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COW Coin
Forum Replies Created
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Anytime you transcode, you are locking yourself into a 1920 x 1080 raster and whatever codec/data rate chosen. The FrameFlex vectors at that point become metadata should you ever go back to the camera original as in an offline to camera original online conform.
If you have a LUT and FrameFlex region of interest on a shot, and you transcode, you should end up with a .new clip that has that baked in to the clip. I will test again to make sure, but that is how it’s supposed to work in order to go back to legacy systems.
The only way to get FrameFlex vectors to work at high quality is when live linking to the 2K+ camera original. Also keep in mind that any other VFX that affects image size is always done to the 1920 x 1080 output of the FrameFlex pipeline.
Michael
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Use a disk speed test app to see what the actual data rates are for read and write on the media drives. Then work from there.
Michael
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You may want to doing a mixdown and correcting that if that is the case. Downside is you are locked to that cut for color correction as there will be no handles.
Michael
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OS X is a full uninstall/reinstall. But it doesn’t take that much time to do. There is no standalone MXF installer to find since it’s part of the MC installer. I would say bite the bullet as it will be the cleaner way to get it back.
Michael
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Are you using “relink to selected” when doing the relink process?
Michael
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Seeing as it is not listed on Avid’s supported hardware page, I will say no, it is not.
Michael
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The final output will always be 1920 x 1080 since that what Media Composer tops out as. The workflow you lay out is the workflow you will use. The FrameFlex metadata will be applied to the camera originals the same way t was the first time and instead of DNxHD 36, you will select a finishing quality – most likely DNxHD 175x or perhaps RGB 444 project type. The regions of interest extraction will be the same. If you want to keep the AMA link “live” during the online conform to be able to change things, then that is a different issue. The XAVC 4K files should be able to play back (scaled to HD). SONY RAW may be another matter.
Michael
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If you AMA link to the audio with the WAV/iXML Plug-in you won’t be able to slip 1/4 frame in a 35mm/4 perf project.
Michael
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Here’s some info – just use the info to scale up to your 2K screening (ar you really finishing as 4K?)> But you may want to scan even higher if you plan on panning and zooming within the frame as part of the editorial/storytelling process.
https://www.scantips.com/basics1c.html
Michael
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Well the best place to start would be the Avid site. Here is the FAQ on it:
https://avid.force.com/pkb/articles/en_US/compatibility/Symphony-Option-FAQ?popup=true&NewLang=en&DocType=1083&q=Symphony+option&spell=1&site=avid_en-us_default|avid_en-us_pressreleases|avid_en-us_default|avid_en-us_pressreleases|maudio_en-us_default|pinnacle_us_default|sibelius_us_default|kbase_en-us_default
Quite a long link for that… Anyway, the specific question is answered as:
Q: What is different between Media Composer 7 and Media Composer 7 with the Symphony Option?
A: Media Composer 7 with the Symphony Option includes the same feature set as previous versions of the Symphony stand-alone software. By adding the Symphony Option to your Media Composer 7 software, you enable Universal Mastering, the full Symphony Color Correction feature set, which includes secondary color correction, and Boris Continuum Complete v8.x.The ones of interest will be the additional color correction control and Boris Continuum Complete. Symphony Universal Mastering only works with Avid hardware and only with tape based-outputs which may or may not be of interest to you. In color correction, it is the secondary, channel blending, and relational (speed up the process) that will be the biggest difference. And of course BCC comes with it.
Michael