Michael Phillips
1
COW Coin
Forum Replies Created
-
You should be able to open that bin in a film based project and have access to those counts.
I always make film projects, even for my file based projects so I can have access to frame based, footage based, as well as 1/4 frame resync for audio when needed.
Michael
-
Right – that’s what I mentioned in my original post, that despite allowing footage to be selected, it still only shows timecode. This is either a bug or a feature that shouldn’t be there.
Michael
-
If you track feet + frames as the top timecode viewer above the record monitor, and you have “center duation” enabled in composer UI settings, you can toggle through timecode, feet+frames, and frames as needed by clicking in the window.
Michael
-
Strange that you can see the footage as a ruler option above the sequence monitor, but only displays timecode. I thought you had to be in a film-based project to get the additional footage and frame rulers. There was some effort a few years back to eliminate the major diffrences between film based projects and video, but it looks like it was never completed – and in this case (v6.5) the menu is misleading.
Michael
-
It’s always best to uninstall a previous version first, then install the update.
Michael
-
Bring all the original media back online via a new AMA link, then try a relink to selected. It may just relink anyway – hide your transcoded mediafiles by adding xxx to the folder name before launching Media Composer and see what happens after creating new AMA links.
Michael
-
Esteemed or not, there is no automated way to create group or multigroup from a timeline with multiple layers. The input to a group clip or multigroup is two or more VA clips that are either a master clip or a subclip.
Is there a way for PluralEyes or other type of application to offer a better workflow with Media Composer (or any other NLE)? There can be – but nothing that is on the market at this time.
In the method described from the link, I would argue that there is no need to create subclips from the events in the timeline. Once the source clips have the AuxTC1 timecode applied from its position in the timeline, it is a matter of selecting those and created a group or multigroup clip.
Michael
-
A few companies have tried this – a concept of “virtual KeyKode” Where KeyKode was a unique identifier for every frame in a production. In all my years of dealing with Kodak based production did I come across two frames in the same production with the same number. Fuji film was more apt for that to happen.
The issue is settling on a format that encapsulates the identification as well as ensuring it is unique. RED cameras had this issue early on where two cameras could create the same file name till they started using the last 4 characters as a random hash. Things get complicated with formats that don’t use metadata in the header (TIFF) where both historical and versioning nomenclature is contained within the name of the file. Then there are formats that can contain metadata in the header and is not used by all processes. Not to mention the fragility of just the filename on its own.
A good example is BMCC that only uses the folder containing the DNG files to be unique, but every file within those folders are identical to any other file – and there is nothing in the header to identify them after the fact. On the files I have been getting, I use a file renamer to at least take the folder metadata and apply it to the files themselves. Also, all user metadata is contained within the XML portion of the WAV file – be sure to record audio!
I digress – some of these companies got pretty far in their proposal, but the maintenance and logistics of assigning and such was too much for one company. These are one of these things that should be part of a SMPTE type effort, and probably is – haven’t checked. But as with all standards, it takes years to get everyone to agree and get on board. And speaking of timecode, SMPTE should also start allowing for timecode beyond 23 hours – for production it makes sense, but for archival and post processes it would be nice to have an additional 76 hours of unique identifier in timecode as well as define a 50 and 60fps timecode – and maybe a 24fps DF, not that we need confusion, but cutting 23.976 for broadcast it would be helpful to not have to add an additional 30fps DF ruler to the UI.
Michael
-
I agree with Chris that the first time, these things are cute – but having to do it every time gets old fast. I equate it to DVD menu authoring – some are so elaborate it takes many seconds to almost a 1/2 minute to get to the next step. The first time it’s part of the experience – but thereafter when I just want to watch the $!$#@! movie, just play the $!$#@! movie!
But I think interfaces can benefit for what is best at the moment of action – and it is not always a perfect recreation of its analog counterpart.
Michael
-
There is no automated way to take a sequence of many V tracks that are synced in time across tracks and click a single button to make a group or multigroup clip. Other than the “AutoSequence”process to lay down a source clip to its matching record side timecode, the steps are all very manual as noted in the link by Richard – Even if PluralEyes created the layered sync relationship ahead of time. A feature request would be to take all those steps outlined in that link and let the software do the steps in a single button. Something that Avid should consider for its backlog.
And while they’re at it – also allow the “Camera” column to be used to out all footage from a single camera into a single viewer which works with tape based footage but not well in the new world of file based cameras where every source has its own ID.
Michael