Michael Phillips
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COW Coin
Forum Replies Created
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The customization has been a bit more restricted in 6.0 as far as what can be changed and such which has been the subject of forum chatter with that release. Also floating windows don’t float and such and other things you will run into with this version. It’s a bit of new good stuff but take some stuff away. I find myself having to click twice for many functins such as bin resizing. For example, open a pop-up and resize that. On a Mac it is a several click process. Also pop-ups don’t follow source/record UI preferences and such. Things I hope they will clean up as it moves on.
Michael
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Unfortunately there is not. There has been a lot of chatter on different forums about this and other UI changes that came with v6.
Michael
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You might get away with that, but why risk it when there is a simple solution? You can ignore after last separator – so in essence you are truncating the part of the file that makes it unique. You also need to be careful with Alexa ProRes that it contains an embedded REEL ID as well that is a reduced 8 character version of the filename that when combined with timecode is what makes it unique. Avid AMA does not access that at all – so be careful there.
Michael
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Well I can go on a whole other diatribe about non-tech folks being responsible for “dailies”… but using Resolve is not that more complex that Resolve once you got settings for your output set up. And you get the benefit of the entire file name which is essential to a conform downstream. And I can’t remember if MetaFuze has a LogC to Rec.709 LUT should the ProRess have been shot 444 with LogC.
You may have to contact someone at Avid about the filename truncation. MetaFuze originaly was to allow for R3D files and DPX into MXF/DNxHD so perhaps it was assumed no more than 16 characters? DPX can have a lot more. Let us know what you find out.
Michael
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I have always been a fan of Metauze when it first came out, but since the release of DaVinci Resolve Lite for free on both Mac and Windows platforms, it pretty much has replaced MetaFuze for me in my workflows. Combined with the fact that Avid’s updating and support of it is rather hit & miss, I think you will be far better served with Resolve for this as well.
Check out this rather hard to find Avid whitepaper on Digital Cinema Camera workflows: https://www.avid.com/static/resources/documents/whitepapers/digital_camera/digital_camera_workflow_whitepaper_us.pdf
Resolve will make native MXF/DNxHD with or without LUT as needed. And just in case, is known to do a little color correction as well. 😉
Michael
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You can always do a “set bin display” to find the subclip’s originating master clip for picture and sound. Sort/sift to leave you with only the original BWF files. Hilight all, then do a batch import of the correct BWF files into that and master clip, subclip/sequence will get updated for just the clips that are pointing to the wrong essence (audio).
But… that doesn’t solve the core problem of why they are relinking to a different audio. Most likely there is a “tape” value (I know, even in file based world…), and you will find this in the TapeID column. The original production audio probably has this at the start. If you open the BWF with the free Wave Agent from Sound Devices, you will see it (and can be edited). What is probably the cause, is that the TapeID is the same for clips also having the same timecode range. Like two days in a row with same tapeID using time of day. If you load your BWF’s into a bin and do a double column sort where TapeID is the most left and START, it will first sort by TapeID then START and you will be able to see if there are duplicates. I do not believe you can edit TapeID. I don’t know why the BWF Tape filed maps to TapeID in the first place.
If there is no value in the Tape field when viewing in Wave Agent, then the filename is what you will see in the TapeID. I usually duplicate the TapeID column into the SoundRoll column so it is available as a source when creating EDLs and such. It would be a nice “featurette” to do this automatically upon import (filename into SoundRoll).
Michael
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I haven’t tried it, so my answers may be wrong but… I don’t believe you can apply LUTS, nor does it export any additional metadata such as scene, take, and additional user entries. It appears to me that it is only a essence (video file) to DNxHD encoder/transcoder. So if your input file is anything but Rec.709 422, then you are out of luck. In your scenario, I suspect it will be a 444 with LogC.
From a “dailies” perspective, it does not have in addition to the aforementioned, has the ability to sync audio, color correction, deal with RAW formats, assign REEL ID other than file name, etc. You can also work with CDL color correct values to pass along what those color decisions were downstream should they be needed.
Sorenson: $899
Resolve: freeSorenson has its place, but at this time in my opinion would be for specific workflows as “dailies” such as Canon 5D, etc. Even though Resolve handles that just as easily and you can use the CineStyle LUT if used.
Michael
Michael
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If you want to conform back in Media Composer to the original ProRes files via AMA which will work fine, AMA uses the filename as seen at the directly level. That is why you want to use that in Resolve during the transcode portion. Alexa ProRes also offers an embedded REEL ID in the QuickTime header that is an 8 character subset of the filename. AMA does not pull that out when accessing, so conform becomes problematic. So filename works well for everyone.
MetaFuze is PC only because it is the import section of Avid DS broken out as a standalone. Avid DS is a PC only product. There are only very special cases where I see using MetaFuze anymore compared to a Resolve which gives you so much more control over image, REEL ID, and additional metadata via an ALE export.
For starters, I would look at the Resolve User Guide. It is very well written. I have seen some Resolve dailies videos online, but they all skip the ever so important REEL ID and when I look closely at the screen, I see REEL ID’s that don’t match anything which will cause trouble downstream.
The guide will walk you through it, once you do it, it is very easy, repeatable, and streamlined.
Michael
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OK, so the presync didn’t work, I thought it might. When selecting L, R and Audio, it does not matter that the clips are of different length. The design of the S3D clip is basically a window on the common span of the elements inside it. Your issue, is that the audio does not have common timecode with the L and R – so you will have to use a MARK IN to establish common sync.
Michael
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You need to select L, R and audio file at time of creating the S3D clip. Or you might be able to sync the audio first to one of the eyes before creating the S3D clip, then create the S3D clip.
Michael