Michael Phillips
1
COW Coin
Forum Replies Created
-
Good to know, thanks! So it links to an external video file that can be greater than HD in size? Does it have to be .mov or what other file formats can it access, such as R3D, etc.?
Michael
-
You would enter the frame based values in the bin in the column called “DPX”. There is also a VFX column that counts as frames in case you need two of them that track different frame based sources and offsets.
Once in the bin, the value in that field supports up to 32 characters in the prefix and 7 digits in the frame count (to support 24 hours of timecode as absolute frames). So I would enter whatever as “clipname” and a value starting at 1 would look like:
clipname-0000001
You can now display this counter over the source/record monitors while editing.
For burn-in, you need to select “source” in the generator plug-in and find the DPX column. Select, and size and position as needed. You can save this off to a bin to use again and again. The steps may be off a bit as I am not in front of my MC right now but it’s close. Let me know if that works.
Michael
-
As Neil said, Pan & Zoom is only for still and does have the ability to reference bigger than HD frame size. There are other tools such as 3D Warp or “reformat” (pan & scan) that can do that for moving video, but can only extract from an HD size frame to start with. Everything will be scaled from that reference. Even with AMA, that can access larger than HD frame sizes, will first scale to HD, then extract from there. Long time feature request. Perhaps next release…
Michael
-
The AVX plug-in is more of a misnomer by calling it a generator – it is more of a “displayer” as it reads the metadata from the sequence record side (above the monitors) or the sources themselves and displays them as appropriate. It does not let you set values directly in the plug-in and generate a new or different count than what is on the source and/or sequence.
If you want a different value at every cut point, then that is a source counter display, but there is not control to count the first frame of every event as 0 or 1. You can have a frame counter for source clips which will be an offset of the clip as used in the sequence which means it could be 0, 1, 10, 20, 137, etc. I use the DPX field for that as it combines a prefix-framecount so I use clipname-frame count that I set as either 0 or 1 depending on preferences. Then I can choose that as a source display – but it would start counting at 0 or 1 at every event.
Michael
-
NTSC and 720p formats as defined by SMPTE officially have timecode of 30fps and 25fps. 24fps is “manufactured” via the addition or removal of pulldown. Since Media Composer adheres to these standards, as it is designed to fit into a broadcast delivert workflow, you will see the 30fps timecode equivalent of 24fps in NTSC 23.976 and 720p/23.976 projects. The actual 24fps timecode can be tracked in the TC24 column and takes into consideration the 2:3 pulldown cadence relationship in the starting frame of the clip.
You are far better served to work with 1080p as there is a true 24fps timecode for that (again as defined by SMPTE) and the START timecode column properly reflects that. SInce you are only using DNxHD as a proxy, DNxHD 36 is a smaller file size and data rate compared to 720p, looks almost as good, and all timecodes match up frame for frame.
The whitepaper link I sent you has a section of why you want to stay away from 720p as well.
Why do you need ProRes? For dailies viewing? If so, DNxHD codecs are free to download for both Mac and PC and do not have the same PC limitations as ProRes, and you can just send QT wrapped DNxHD out as needed.
Michael
-
First of all, there is no real need to relink the transcode clip. Just edit with the ,new clips. AMA link, transcode, and edit with the .new.
In this scenario, the issue may be related to the fact that AMA puts the full filename (+_001 for spanned files) as the source name into a column called “Source File”. That is what is used for REEL ID. When sending the AAF, it has the entire filename which won’t match what it sees as REEL ID as it probably only uses the 16 characters without the spanned file extension (_001). It’s something I wish Avid would address when AMA’ing to R3D file. That being said, try the following in your case:
Export an EDL instead of AAF. in EDL Manager select the File_16 character template. This will truncate the last extension looking like what Resolve expects for REEL ID. This should relink to camera masters.
Also, transcode for transcode. lost AMA in your workflow. Just export native MXF?DNxHD directly from Redcine X Pro and it will have proper REEL ID as expected by every application that uses the RED SDK for R3D support.
Export from Redcine X gives you three things for every batch process:
1. Folder of MXF files
2. Folder of AAF files
3. 1 ALE fileCopy/move contents of MXF folder to the Avid MediaFiles/MXF/1 (or any other numbered folder in there. Launch Media Composer, in your bin, import all the AAF files or drag and drop. This will create instant link to media. Start editing. Optionally you can import and merge the ALE file to the master clips. Here is a an overview whitepaper from Avid on working with Digital Cinema Cameras: https://www.avid.com/static/resources/documents/whitepapers/digital_camera/digital_camera_workflow_whitepaper_us.pdf
Also check out video on https://www.avid.com/red for some more detailed workflow.
Michael
-
I don’t believe the ability to export L and R for stereo 3D into a single QT file has been added as a feature. You would need to confirm with someone at Avid.
Michael
-
I was told by engineering that the only way to keep ProRes as ProRes but got from a QT wrapper to MXF was to an import with the proper import settings and codec set. Setting should be “proper size/aspect ratio” and Rec.709 for color space. For destination codec, select the same one as source (whatever it is on the original file). Marketing can get a little ahead of itself with AMA being the second coming of “you know who”. but it still has a ways to go to be that.
Michael
-
Once the transcode was done, you should have a set of .new clips. Those are linked to the newly created ProRes files. If you need to relink existing sequences to the new media, select both the sequence(s) and all the new media and do a “relink to selected” from within the relink settings window.
Michael
-
The secret for native MXF wrapped ProRes in Media Composer is to import, and not AMA. With AMA, it will do through a decode, re-encode process even if you select the same codec/data rate.
The process is to import, which will be a fast import.
Michael