Michael Phillips
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COW Coin
Forum Replies Created
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If your goal is to not relink back for final conform to original sources and want to work at your finishing quality (for PBS, etc.) the transcode to DNxHD 175/220 (depending on frame rate). Do you have a PBS delivery spec?
Michael
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What is your finals delivery, 1080, UHD, 4K? You can be in a 1080 project and transcode to native source XY and fps if you want. That will give you ability to reframe with FrameFlex. If you shot 4K for 4K, then work in a 4K project, FrameFlex is meaningless at this point so just use resize or 3D Warp.
Are you planning on an offline, work at a finishing resolution??? All that defines how you might want to work.
Michael
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Circling back on this one for others in case they are in the same boat – the trial version of the GlueTools Phantom CIne AMA plug-in has several limitations to it:
• Reads Phantom Cine files with a Water Mark (a Red Bar through the image),
• Timecode is Fixed to 24 fps in the demo version,
• Timecode time is Fixed to 09:09:09:00.It would be more useful to put different restrictions on a demo plug-in to ensure it is metadata accurate in different project types and recording rates. Something like only the first 10 second will play, etc. Depends on what the AMA architecture allows.
Michael
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Item 3 in What’s New Guide for MC 8.9.3.
https://resources.avid.com/SupportFiles/attach/WhatsNew_MediaComposer_v8.9.3.pdf
Michael
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Can you send me 5 sequential frames to test with? Send to me via filemail.com or wetransfer.com to michael[at]24p[dot]com
Michael
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Also, the year Avid did not attend NAB was the year of a one year CEO and VP of Marketing in between other longer lasting CEO’s. So saying Avid as a whole is not quite correct but by whoever is running the show at the time and what they believe. I am pretty sure that if any other CEO, Avid would not have left.
This does not mean there aren’t discussions by any company as to the value of any show they attend and the ROI overall. Clearly, it didn’t hurt Apple but 90% of their business is not dependent on the broadcast and studio markets.
Michael
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No you can’t. It’s been requested since FIND was released in v5.5.
Michael
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Go to Media Tool and select all project, all drives (assuming they are all attached) and sort by Source File and Tape (depending on how media got ingested). Look for similar names then timecode ranges to see if they are the same. Manage accordingly.
Michael
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No difference in the resulting clip. The only difference is drag and drop is always auto-detect while linking via the Browser allows you to select a specific plug-in if needed or desired.
Michael
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You can create two types of Avid MXF files of which only one of them is native to the Avid MediaFile structure:
1. MXF OP1a is a single file wrapper where all V and A tracks are in the same file. It can have DNxHD, DNxHR or other codec contained within.
2. MXF OPAtom is a multi-file structure where each track is its own file. So a clip with one video and 4 audio tracks will be 5 separate files. Video codec again can be DNxHD, DNxHR or other. This is the file format that is native to Avid MediaFile folder structure.Resolve and other systems can create either MXF file format, so you need to be aware of that when planning your workflow. While in your case, the codec created was DNxHD 36, it can still be either OP1a or OPatom. That is selectable as a delivery in Resolve.
AMA linking will support either OP1a or OPatom. The process here is to link and consolidate the media if you want it to be managed within Avid Media Folders. Depending on the format, it will either just copy or rewrap from OP1a to OPAtom.
If you know for sure the files are OPAtom, then they can drop right into the Avid MediaFiles numbered file structure.
Michael