Michael Phillips
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COW Coin
Forum Replies Created
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The ability to matchframe back to its original source is based on the master clip to subclip to sequence relationship created in the process. In order to match back to say an 8 track audio source clip assumes that all clips were derived from that 8 track master clip first. So if your original imported master clips is only 2 tracks, you can match back to that with matchframe. The only way to match back to the 8, would be to do what you did with the AutoSync or subclip the 8 track to a two track before syncing or using in the timeline.
Michael
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My excuse is, I only work on one feature film at a time, so management at the media level is very much simplified…
😉
Michael
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I had a 64GB tower that was the first shared tower for multiple editors. It took two of us to carry it up the stairs it weighed so much.
Michael
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A long overdue feature is the ability to select one or more clips in the bin and via a right-click have the ability to move or copy media to a target drive in one step. Seeing as there is the ability to reveal file on a clip by clip basis, the foundation is there to do so on multiple clips as a single command.
But – you might be able to use the “send to” capabilities of the system if you are looking to move clips associated with a sequence. In the settings, there is an option to “copy media” and set a target drive/folder. For clips in the bin, you can quickly make a sequence from them and do the same.
Michael
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I like to take all my imported BWf files and autosequence them. From there I export that as AAF/OMF.
For the clip I am editing with, when AutoSyncing, I chose (in your example) a span of A1-A2 on the audio file. The resulting .sync clip will have the original V and the A1A2 of the BWF. Should you need one of the ISO tracks (3-16), you can do a match frame on the audio track only to bring up the original audio file.
When sending to ProTools, I send the AAF/OMF of the sequence(s) and the original AutoSequence of all the audio sources. Pro Tools has a variety of ways to sync to all tracks when needed.
Michael
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Just to be anal about the process – if you were to go back to the original 17x clip and re-transcode again, would you see the same error?
I don’t know of a way to force a relink by changing metadata as there is a lot of stuff going on behind the scenes. You can always take your incorrect .sync subclip and AutoSync again to the BWAV file and in the AutoSync window choose to remove the audio with the video clip.
Michael
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Does the .sync clip’s metadata indicate the proper audio clip? If you were to do a “seek media relatives” on both the original 175x before transcode and the 36 after transcode, they should point to the same original BWF file metadata wise. We can then back track from there.
Michael
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Were the files transcoded to a DNxHD format in the process? Will you be grading the DNxHD MXF media in your workflow? DNxHD is a Rec.709 codec (not counting DNxHD 444) so I would recommend staying Rec.709.
Michael
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You can convert it to HD via a transcode, but you can never “increase” resolution if you are referring to quality. The best you can hope for is preserve as much resolution you can as you increase the size.
You can look at what Boris FX offers for uprez and there are controls in there can be used to optimized based on footage type.
Michael
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Are you referring to a lined script? Something that looks like:
https://scriptonset.files.wordpress.com/2010/03/lined-script.pdfThe lined script is the script super’s or continuity person’s work on set that indicated to the editor the complete coverage for any part of the scene – be it action or dialog. Straight lines indicate character speaking the dialog can be seen on screen (facing) while the squiggly indicated the dialog can be heard, but speaker not directly seen. Think of an over the shoulder two shot where one speaker is seen at one time but the other is heard.
Avid’s interactive digital equivalent of the lined script is ScriptSync which allows all coverage to be associated with the digital version of a script and review, editing and such can be done directly from the script. Media Composer and Symphony are the only NLE’s that allow for this very unique approach to editing and a video demonstration of the feature can be seen here:
https://www.avid.com/US/products/scriptsync
ScriptSync, like its kissing cousin PhraseFind is an additional paid option. But note that for ScriptSync, you can still line a script manually, but takes much longer than the automated phonetic alignment of the ScriptSync engine. Once a script is lined via ScriptSync, it can be used on any system without the ScriptSync engine.
ScriptSync can be an amazing feature when working with your director, I wish it would get an update to the actual interaction and presentation as the core UI hasn’t changed or been updated since it was first implemented in the 1997 era. There is so much more that this could do for both drama scripts and transcripts than what it does now.
Michael