Michael Phillips
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COW Coin
Forum Replies Created
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Those folders contain the search database file for both the “Find” and “PhraseFind” search features. With v6.5, you have the ability to change the location of those folders to a directory of your choice. It’s a tab in the “Find” UI.
Find is for bin metadata, and for the most part is a smaller collection depending on the number of bins and columns of metadata. If you purchased the PhraseFind option, then that folder can get much larger – roughly 5MB for every 1 hour of audio media (whether there is video or not).
Michael
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The phonetic audio indexing from Nixedia has solutions for Media Composer, FCP, and CATDV – The video plug-ins were originally done as AVX, so Media Composer, but if I recall correctly some of them were available for Photoshop, so I would check into it a little deeper or contact them for additional info. They may have extended to other host NLE’s over the years.
Michael
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Also take a look at: https://www.oceansystems.com/dtective/index.php
They make a lot of specific video analysis plug-ins for video. On the audio side, “Get” by Nexidia makes phonetic and indexing tools for different NLE’s as well as for CATDV. See their solution overviews here: https://www.oceansystems.com/dtective/index.phpMichael
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I would question the need to create 115 from 175 as you are not getting that much storage savings. It only a 35% savings. If you were going to DNxHD 36, then I could see the reason. What happens to the 175 media? Is it being moved off the system?
There is no transcode project command – you could open the MediaTool and find all the clips associated with your project, drag them to a single bin, select all, then transcode.
Michael
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Thanks for the clarification, so the recommended workflow when the need to move back to original files is to create a matching project to start beforehand. It is a lot of work, and one would think (as the original poster hinted at) could/should be done with a direct AMA link if it knows what the original frame rate is… just do it in the background.
I work in scripted feature length world – all pretty managed to one frame rate, and if not, is taken care of before getting to the Media Composer! 🙂
Michael
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Yes, you are correct when transcoding in the native project first, open in new project and don’t transcode again. I was referring to taking a 24fps clip transcode as 24fps in its original project, open it in a 25p project and for whatever reason, transcode again – you lose the links back. I need to check what happens when you render – is a render the same as a transcode? I rarely work in cross frame rates, so I my direct knowledge may be a bit rusty. But whenever you see that long pop-up warning dialog indicating these will not relink, that is the point where history is broken back to the original clips.
Michael
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Adam Wilt did a good overview of using reference sync on an DSLR. The camera itself is 1 to 1.1 frame out of sync to when comparing its own picture and audio, then add to that distance (speed of sound versus light) and it could be another .5 frames. See his article here:
https://provideocoalition.com/index.php/awilt/story/dslr_audio_do_you_know_where_your_sync_is/
Frame offset adjustment is probably something you will see in an update to PluralEyes, as internal offset from the camera is consistent for all recorded media – distance will be subject to change.
Michael
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While I have had good results with PluralEyes, there have been times when based on the quality of reference file, it really didn’t sync anything. I also find the AAF process to be clumsy as editing from a sequence it not the best – and going through the subsequence, AutoSync to make a subclip to track sync offsets, then rename to proper source (Scene/take for example) takes up a lot of time. I have found, that with a clear clap in visual and audio, I can sync faster manually most of the time and be frame accurate.
I actually work in a film 35mm project even though there is not film as I will sync down to the 1/4 frame.
Michael
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Nothing has really changed in v6.5 as it pertains to managing mixed frame rates, formats, and frame/field. the issue comes with the need or not to ever have to go back to the original sources for any reason whatsoever. With v6, a transcode basically blows away any relationship to the original sources whcih is to bad since v5.5 actually managed both frame rates in the bins and EDL – even when applying a motion effect to a clip that had a frame rate adjustment. So the two methods mentioned at the high level are the choices you have – transcode up front to a high quality DNxHD that now becomes you new master (back up as though it were your master) and continue from there, or make the multiple projects – but a transcode still kills the relationship back, but at least you know which clips came from where. If AMA directly in your master project, I would log custom columns as to original frame rate.
As far as doing it outside of MC – it is basically the same as doing it within Avid as whatever the resulting file is becomes your new master source. At this point it is a matter of quality if you feel you have an external app you feel can do a better job.
Michael
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Do you not have Sorenson on that system? Compressor? 30 day trial of Adobe Media Encoder? Neither MC nor Symphony export MPEG2 natively.
Michael