Michael Phillips
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COW Coin
Forum Replies Created
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Pu 10 frames or so in the timeline and set up an auto color correct with the different settings to see if it makes it any better. If so, then you can do a select all clips and double click the color effect and it will do its thing.
michael
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Assuming the entire MediaFile path is correct, once Media Composer launches it will read or create an index for each folder in the Avid MediaFiles/MXF folder structure. If it is not being indexed, then it is an issue of an improper file path or name, or the files aren’t proper MXF files.
michael
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Make sure you download ALL the Canon plug-ins and not just the one you think you need (300 and 305). I have heard of this fixing some issues.
Also what frame rate?
Michael
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Is the timecode of the shot as used in the timeline, with or without handles or the timecode of the entire source clips as it exists on the camera original?
In one scenario, the EDL with clip name might suffice. “Optical Pull Lists” have long been used in film based workflows and are just as valid in file-based worfklows and can be done with FilmScribe, but unless you have had some experience with that, it may be a bit of a learning curve. Here is a sort of example of what that looks like. In this case, a lot of the metadata was not logged, but you get the idea:
https://arc.avid.com/filmscribe/FilmScribeOutput/CStyleAssembly060105_OptPul.htmYou can always create a sequence of just the VFX elements and create an EDL or do a decompose (handles of your choice) and export an ALE or TAB with whatever column information desired. In this case, clip name or source file name and timecode source (assuming source). In EDL Manager you can see the tabs for EDL, sources, etc.
Or, you create one by hand by stepping through your timeline… That’s been done a few times I’m sure.
Michael
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Two things:
1: Resolve creates native MXF/DNxHD media, so there is no AMA link for that (you would think there would be). When selecting MXF and DNxHD, those files get copied directly to the Avid MediaFiles/MXF/1 or any other numbered folder in there. I would suggest creating a new numbered folder for just those files, copy them in there. Then launch Media Composer and from your bin, do Import, navigate to that folder and import the msmMMOB.mdb file. You bin will populate with the master clips.
2: I realize there is no proxy files which is why I suggested AMA Linking to the 4K XAVC files and transcode in Avid to a proxy format of your choice. The Sony AMA plug-in recently posted support either the MPEG proxy or the XAVC. I have used both in my workflows for offline and relink to 4K as needed.
I wish Avid would get around to allowing AMA to do a frame for frame as part of the source settings if not slowed down automatically to play rate. In some cameras, the files are flagged as record rate versus a play rate which lets downstream systems see it already in the slowed down state. In the case where it does not, the feature would be nice to have. Similar to Adobe’s “intrepret as” function.
Michael
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Have you tried linking to the 4K file and transcoding to an offline proxy for now? One think to look at with Sony 55 is that there is a scenario where the AMA linking to the proxy files do not have the same Source File name as the 4K file. There is a S01 type tag at the end. Is this what your files have? I believe it happens with MPEG proxy for 4K XAVC when recorded on same camera. I need to go back and look at my notes. In other proxy scenarios, the filenames are exactly the same do the conform is very straightforward.
Michael
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[Bill Davis]: Well, that’s the 5.1 surround mix.
Scroll down to the graphic under SHOWTIME to see a version of the original timeline. They aren’t mixing 5.1 in the timeline, they are editing effects that may or may not be used by the audio post team. I have had complex 5.1 in simple picture edits – it does not need to an effects laden film.
As far as why FCPx is not being used on features such as this, everyone will have their own reasons. For me, a fundamental one (of many) is ScriptSync – the ability to see all coverage in context of the script, directly access any line, compare reads of one or all dialog, etc. is key to finding those moments that make the story.
Will FCPx be used on such a feature one day? Why not? If it could do it now, I am sure someone would do it – and perhaps they are. I could see someone like Billy Fox or Angus Wall giving it a shot.
Michael
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Here is a timeline from Star Trek:
https://www.evanschiff.com/bd/articles/5-1-temp-mixes-on-star-trek-into-darknessThese timeline examples tend to be deeper into the cut where previz editing has been replaced by the first versions of the effects as they come in. Those can start accumulating into the dozens. But before that it would be some or all the elements to create the effect as the editor has selected, timed and created the overall relationship to be sent to the VFX artists. You are starting to see “outsource” effects type worflows as with Eyeon Fusion where the complexity is done in Fusion, but the renders and such can be happening at the same time and pop right into the “container” on the timeline.
Michael
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There tends to be a belief that feature editors just have simple timelines – what Oliver has shown is pretty average – I have seen less and more complex. The timelines on Lord of the Rings were just crazy. And from an organization perspective, I have mentioned on other forums, “Alice in Wonderland 3D” had over 5000 bins in the one shared project.
Many features are screened in process, and I have seen NRG screenings done directly out of an Avid timeline. The amount of previz, correction, etc. is getting more and more dense, not to mention the multiples in storage being shot with digital compared to tape and film.
Michael
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I actually wouldn’t have a huge issue with this if it also included the ability to lock of a span that I was working in and treated as such within the greater span or timeline. But without some sort of safety rails like that, it would be a nightmare. Also, a true “live”simultaneous editing would have editors fighting over position and view of the timeline and play head. And while we can generate change lists comparing two sequences, there is no ability to merge edits from two versions of a sequence although I went down that path with a patent years ago with timed management of all edits in a timeline with “use most recent, by user, etc.”
Michael