Michael Phillips
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COW Coin
Forum Replies Created
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I love MPEG Streamclip for a lot of things, but for Avid media, I prefer avoiding going with yet another QuickTime wrapper altogether and use DaVinci Resolve to create native MXF wrapped DNxHD directly.
In many cases, AMA link to clips directly and a transcode will yield roughly 2x faster than real time and again, direct to MXF DNxHD. The choice between the two depends on whether the system has an MC on it, or if a LOG type recording was done on the sources.
Michael
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If it’s a large project over a period of time you may consider just buying one (Teranex that is):
https://www.blackmagicdesign.com/products/teranex/
Michael
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Does it need to be an actual EDL, or can it be some other file export that will list vendors codes and such?
I would need more detail, but as you say, the clip timecode is showing 00:00:00:00 but the BITC may be 13:00:00:00. This value can be entered in the AucTC1 column and tracked in lists be it EDL or other.
Michael
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Not quite following the whole flow – but it seems that vendor codes could be tracked in any custom column, and there are 5 extra timecode columns to track alternate/in-house codes. Depending on how this is tracked in spreadsheet/database, the TAB file can be converted to ALE and merged into existing clips.
Michael
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Give this a read:
https://www.avid.com/static/resources/documents/whitepapers/digital_camera/digital_camera_workflow_whitepaper_us.pdfWhen you AMA, the sources are tracked in “Source File”. When it comes out of Resolve, the sources are now tracked on “Tape.”
You will also notice a difference in file name for spanned RED files where AMA will display the _001 and it won’t be there from Resolve. I really wish Avid would fix this in the AMA R3D plug-in…
But that being said, v6.5 allows you to relink between Tape and Source File and allow you to ignore the _001 in the process. You will do this with a “relink to selected” and setting up the parameters correctly. There may be a video on avid.com, or read the what’s new for these features.
Michael
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When you export highlighted clips in the bin as a TAB file, it automatically adds the name of the bin. Many people use this to create a database or “codebook” with FileMakerPro to allow for searches and such. That only works at the bin level. There is no equivalent at the project level which shows folder/bin relationship unless you make a column in the bin ahead of time and add the folder name to related clips.
Michael
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There are two columns that count as frames; DPX and VFX. Both of them use the following syntax:
filename-framecount
where filename can be up to 32 alphanumeric and frame count can be up to 7 digits. In your example, it would be:
labrollname-0000000 or labrollname-0000001 depending on a zero or one frame start count. Once entered, then you can add that as a counter with the timecode generator effect.
Michael
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pat is correct as Media Composer manages the sources differently than what a DI or other third party system might use depending on source file, and REEL name preferences, etc.
When using AMA or importing, all filenames are tracked in the “Source File” column. If captured via Tape, or via an ALE import first with Tape, or made in a third party system such as Resolve or Redcine X Pro, then the filename will be in the TAPE column.
It is possible for a project to be tracking sources in both TAPE and SOURCE FILE.
When generating an EDL, the process is:
1. Use value in TAPE. If none found then:
2. Use value in SOURCE FILESo there should always be a value in either of those columns to track source via EDL. EDL Manager also allows the user to insert values found in Labroll, Camroll, and Soundroll should the source file allow for different naming as with ProRes from an ARRI Alexa; full filename or REEL from QT Header).
If using AAF, then the AAF contains all the metadata and it is up to the receiving application to parse the proper fields. That is why you want to test it with that application. Also note, that if using AMA and the sources are still linked (live), then you cannot generate an AAF without first checking the “use edit protocol”.
Michael
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On a somewhat related note:
TVBizwire
One Step Closer to ‘TV Everywhere’: Cox and Disney Ink Wide-Ranging Carriage Deal ReutersCox Communications and The Walt Disney Co. have reached a long-term carriage deal that expands options for watching Disney-owned networks both in and out of the home, reports Reuters.
Live and on-demand content from Disney networks, including ABC and ESPN, will be available to Cox customers through its pay TV service and on a range of devices, including gaming consoles and mobile phones, the story says.
The deal is part of the cable industry’s effort to achieve the goal of “TV Everywhere,” allowing viewers to watch what they want at different times and on various devices, the piece notes.
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Multicam works with master clips or subclips, or subclips created via AutoSync, etc.
Michael