Michael Phillips
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COW Coin
Forum Replies Created
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The way I always have. I got to color correction mode and change one of the three monitor views to one of the scope views. In my case, the one on the right.
Michael
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Well my v7 has internal scopes…
I don’t think there is a definitive guide on how to manage media because most of these are user discovered and shared and can change based on a particular production. Things to keep in mind:
1) Media Composer expect a folder named “1” in Avid MediaFiles/MXF. If one is not there, it will always make it. Renders, newly created media and such will always go their first until it reaches some number of files (I can’t recall the exact number) to not tax the operating system and will then automatically create a “2” folder, etc.
2) If the folder is not a number – Media Composer will see the files in it before the name change, but will not index any new clips added to the folder.
3) You cannot designate a numbered folder from within Media Composer when creating media (see #1). This is all managed outside the app by the user. I would suggest this is always done without Media Composer running.
Michael
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The codec used probably softened the edges a bit to make it more pleasing. If on MC v7, have you tried FrameFlex on the stills to see if that might work for you?
Michael
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Yes, the GFX level offers three options of: do nothing, expand, or compress. This effects the overall black and white levels of the pictures (inculding gray scale of RGB). What you can do is look at the levels for the one you like via Sorenson, and see where it falls on the histogram and see how close you can get with the GFX levels. Once you get familiar with source settings, you can start looking at at the Color Encoding tab and playing with source color space, LUTs, and even ASC CDL’s for full control over source color space.
As far as in and out points, once you AMA link to the clips, you will see them in the bin, load them in the source monitor and play through. If you want to make in and out points, do so, and make subclips. When you go to transcode, just select the subclips and other selects as needed.
And as a last point, you can relink between TAPE and Source File. That has been possible since v6. V6.5 introduced the ability to relink based on any column as a source, and any timecode column for the in/out.
Michael
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Source File is only created when importing or AMA linking to sources in Media Composer. All third parties using Avid’s AMT creates TAPE as there is no option for them to create otherwise.
You do not need to change sources or add TAPE names to the clips in order for a relink to happen. Since v6, you can relink between TAPE and Source Files, and since v6.5 you can relink on any column for source and any timecode column for span.
As far as levels go, once AMA and you go to Source Settings, go to the AMA Source Setting Tab and from the GFX Levels menu, select the one you like. If you have the image displayed, there is a histogram with two white marks within the frame. Those indicate video levels while the entire width represents graphic levels. You have three options in the menu – do nothing, expand, and compress. Look at the histogram to see where you shadows and highlights are falling and select accordingly. Once set, transcode as needed.
Michael
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The only way a clip gets associated with a project is when the media is created within the project. As far as gamma and such, you can always try AMA, go to source settings and set it via a LUT or gamma stretch to be to your liking.
Michael
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You might be able to find someone to convert a CSV or TAB export from Excel to the DS Caption file. It’s a simple text format that looks like:
01:00:16:17 01:00:18:08
¿Sabes qué dÃa es hoy?01:00:19:16 01:00:23:00
“Es tu dÃa especial01:00:24:17 01:00:27:05
“Tu papá no tiene que enterarseAnd can be imported into the SubCap effect on a timeline. Timecode in file must match record side timecode, so use AutoSequence for each source clip, add subcap effect, import from within the effect. You then have to use sequences as source when editing which can be a bit of a pain. Depending on language, ScriptSync can be used where the clip is synced in original language, while the translation is with the dialog but protected by [brackets which ScriptSync ignores. The text document would look like:
[Do you know what day it is?]
¿Sabes qué dÃa es hoy?Michael
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Also, the longer the source clip, the slower it via AMA and can lead you out of sync and related issues. Transcode as Shane (and I) recommends.
Michael
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I checked this in v7 and all 16 channels import and/or merge via ALE. But I would move to 6.5.3 to test it there if I were you.
Michael
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Assuming “Reel” is a sequence of clip, and you are asking whether adding a Marker to one of the clips in the timeline will propagate the marker to all instances of the source clips, the answer is no. There is a setting to carry Markers from source clip to timeline when editing, but the reverse. Sam answer for group clips. Adding to a group does not but it on source clips that made the group.
Michael
