Michael Phillips
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COW Coin
Forum Replies Created
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Just remember you will need the $1K version of Resolve to output greater than 4K.
Michael
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Ah sorry, I thought you were referring to me (Michael). 🙂
There are several ways to go about this. Either sync audio to each camera before making a group clip, only sync one of the cameras before grouping, or just group the entire camera set and the audio in one step.
Each have their advantages and disadvantages:
1. Syncing audio to each camera angle will give you individual sync clip but takes the longest as you are repeating steps.But should you ever need to edit any of the material single cam, it is synced for each angle. You can also slip sync on the resulting .sync clip of needed before grouping.
2. Syncing one camera to audio then grouping to all camera angles is probably the fastest method as manual sync would occur to only one clip, then grouping would use the common video timecode (if available). If not, then you could use a visual to group. When editing the sequence, lay down the good audio as the reference. You can also slip sync on the resulting .sync clip of needed before grouping.
3. find a common mark in all camera angles and audio then group directly. This removes one sync step but will not allow you to slip sync should it be needed.
My preferred method would be #2. I just mark an IN at each of the common frames/sync then use AutoSync. The resulting clip will be the shortest of the two. So sync to the longest before grouping. I never sync via the timeline method myself, I just do the marks to the sources, sync, then load subclip into source monitor with source monitor timeline to slip as needed. I also make my projects a 35mm/4 perf project so I can slip audio sync down to the quarter frame. This eliminates the sequence/subclip step as well as renaming the source clip steps.
Michael
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Looks like an uncorrected LogC gamma… several commercials have done this as well.
Michael
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Check out Sal’s workflow further down in the thread:
https://forums.creativecow.net/readpost/45/889277
Michael
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I’mpretty sure the original media is Rec.709, and certainly DNxHD is a Rec.709 codec. Also, seeing as the intention is a broadcast master, then it should be Rec.709 all the way. Any titles and such created should also be done with that specification in mind or it will get clamped, clipped or rejected.
Michael
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It depends on what the NLE is best optimized for, editorially speaking. We tend to make H.264 for screening purposes only as a lightweight data rate codec. When sending a mix scratch track to the camera, and “if” there are ISO tracks being recorded by production audio, how are those managed in the dailies if the H/264 is used for editorial? Or when you say “director’s” dailies, those were just viewing dailies as well?
Michael
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And if they were going to go this far in creating a modular approach – they “should” also consider that the main module be rack mountable for machine rooms and mobile on-set production. So Cable connections cannot be on what will become the side of the machine once mounted.
But it is a dream, so dream away!
Michael
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Yes, I use Air Display to do that. I resize my timecode window to fit the entire iPad screen so it can easily be seen.
Michael
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That’s it!
Michael
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I can see some form of vibrate and sound feedback happening, but still not the same as actual hardware with resistance, hard start and stop locations, etc. I certainly see value as an extension to interface and informative views – for example when editing on Media Composer, I use the iPad as a window extension to the timecode window where I display nice and large timecode, clip name, duration, etc. All the stuff the client asks for when I am editing, they can just now look and see that without interrupting my pace while working.
Michael