Michael Phillips
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COW Coin
Forum Replies Created
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If you have a small file to send me, I will take a look at it. The last update to the firmware was in 2008 which can be eons in this industry…
Try a site like WeTransfer or YouSend it and email me at:
michael[at]24p[dot]com
Michael
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You can transcode the sequence as well to get the 2″3 removal baked in to the sources. From there, an EDL or timeline will be fine for a recapture from the original HDCAM. Creating an EDL will be matchback as well, with a +/- 1 frame adjustment. If you do the transcode, then that is the frame, so farther adjustments needed if what you see is what you want.
This assumes that the 2:3 removal is correct. In most cases, and assuming a proper downconvert form the HDCAM to the SD tapes, that it was done NDF and “A” frames fall on timecodes ending on :x0 and :x5. If there is no burn-in on the original sources, then it will be difficult to see what the timecode relationship is/was in the process.
This needs to be done in a 100p/23.976 as SD will always count as NTSC as 24fps is a manufactured count, and SMPTE does not define 24fps timecode in SD sources (NTSC or PAL). Avid does this as a metadata template on the media to track both 30 and original 24fps timecode and the proper cadence for each clip.
And by the way… I am the MichaelP of 24p.com… 🙂
Michael
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Aside from the metadata issues that Richard mentions, you can always open your 29.97 bins in a 23.976 project. If you edit directly from the clips, they will have a motion adapter automatically applied which is in essence a pulldown removal in this scenario. If you transcode the master clips in the bin, they will become native 23.975 and have a 24fps timecode- this assumes that someone else is keeping the database for KeyKode and such for any film needs as that is usually tracked on the clip as well in context of editorial.
Michael
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[Walter Soyka]: If Apple does move toward some proprietary system, they will have to get other third-party developers on-board, too, or FCPX on a 2013 Mac Pro will basically be a turnkey system.
And I don’t think Apple really has a problem with this strategy. Looking at the overall Apple ecosystem from OS to hardware, to managed applications via iTunes/App store, mobile, and content consumption/sharing, this might actually be their strategy. I often wonder what the tipping point is for a monopoly… 😉
Michael
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Try copying the card’s contents to a different folder and link to it via the MXF AMA plug-in rather than directly via the Avid MediaFiles folders. Just because they are .mxf doesn’t necessarily mean that are of the exact MXF specification expected by Media Composer – OPAtom and all…
https://avid.force.com/pkb/articles/en_US/User_Guide/en367189
Michael
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Try the demo version of QTchange to add timecode to a .mov file:
https://www.videotoolshed.com/product/42/qtchangeMichael
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I believe QTChange from VideoToolshed can change the frame rate in the QT header.
https://www.videotoolshed.com/product/42/qtchange
Michael
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I have always found the Lightworks search function to be quite nice as well as the original D/Vision.
Michael
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All good comments in this thread. Just a note that my comments do not come from an FCP comparison as I have never used FCP in a serious enough manner to compare the feature sets, but it is interesting to read the comments by those making the transition and their experiences on the advantages and disadvantages of each. A lot of this also depends on context, the type of program being edited, how many collaborators in the process, offline/online, etc.
Interesting that you bring up PhraseFrind. I am a huge fan of the Nexidia technology that powers both PhraseFind and ScriptSync. It is a fundamental change by which an editor can approach their material not only when crafting it, but even has applications beyond its current implementation. And this gets me back to the never finishing of a feature/solution – All my comments on “Find” were related to just the metadata based search function, and not the phonetic based search that PhraseFind offers. PhraseFind UI is a good example of a design that doesn’t quite understand the full power of the phonetic syntax that can be used and many users don’t realize what they’re missing (spanned based searches, optimization for acronyms and such). This is because the UI doesn’t inform them of this capability. It too suffers from the “let me give you all the results, then you filter through them” rather than a UI that offers some form of filtering up front as part of the initial search function such as “in this bin only” or “in scenes 3-6” or “on this date” etc. The results for PhraseFind could also be optimized by not having a clip for every result show up but a single clip with total hits displayed. As a user, the results of a clip that has 20 references to a word search versus one that only has 2 makes a bug difference in how I engage with those search results. The lack of filtering based on clip type is missed even more as the results will show all clips, even when they are duplicates, which happens often when your workflow is double system, reference track on original video, AutoSync to new subclips, and potentially sync those to make group clips. All of those show up, when as an editor, I only really care about the .sync subclips and group clips to edit with. This entails a sort and scroll to ensure you are using the right one when loading each one, one at a time. A phonetic score filter would help with many other search functions, but even that is missing.
There are great features in Media Composer, and for doing the long form feature editorial that I do, there really is nothing else like it – but I wish these type of features that have the potential to be truly innovative get the chance to be that one day, and not “just good enough”.
Michael
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Apple waiting for Intel is like consumers waiting to buy the iPad that will last more than 18 months before a complete refresh is announce/ready, etc… 😉
I brought this up in another thread, but if Apple moves away from Intel as has been rumored in one of the zillion Apple rumor sites, what does that mean to the future of Thunderbolt on Apple products? From what I understand (and I could be wrong), this is Intel processor IP with Apple being an early licensee.
And as part of the same discussion, what is the future of OS X and iOS over time?
And… (speculating on Apple development timelines is futile), but what about the the sun-setting of Mac Pros over the next 12-18 months with the increased development of FCPX so that FCP on new OS/Hardware architecture over the same period time making the FCP discussion a moot point?
Michael