Michael Phillips
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COW Coin
Forum Replies Created
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The best you can get will be uncompressed sequential TIFF. Although DPX is a standard and has been around a while, it has yet to make it into the product. Perhaps in a future update. Although DPX was based on Cineon, I don’t know how well the Cineon export works. You might also look into Gluetools for their QuickTime DPX as an alternate solution.
Michael
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There is, if planned for ahead of time, but it starts with the production audio mixer doing the mix track on set, usually TRK1, then only selecting that track when doing AutoSync.
Michael
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Some editors and programs types find success editing directly with AMA linked files. But I am in the camp of using AMA to link directly and use as a way to sort, select, then transcode what I need. Transcoding is much faster when creating DNxHD than an import. Something to try is XDCAM is a native codec, so you may consider a consolidate to go from AMA (self managed) to Avid managed in the Avid MediaFiles folder. That is as fast as a copy.
For graphics with or without alphas, and audio, I always import.
Michael
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An ISO is a track that is ISOlated to a single mike, be it the boom, or a lav on a particular actor/subject. Typically you would have an ISO of the boom and a lav on each of the actors, depending on how many actors and such are in the scene. Most modern audio recorders will also let you take the sum of the ISO tracks and automatically create a mix track or tracks at the same time. So for an 8 track recorder you could have up to 7 ISO tracks with a single mix-down track (sum of the 7). In editorial, the mix track is synced to dailies and should the editor need a particular track, they can match back to the original BWF and grab it as needed.
It would be a great feature for Avid to provide this as a virtual mix when doing AutoSync, but there would be lots of steps involved to create one manually and preserve all the metadata from the original BWF file.
But perhaps your multitrack files already have a mix track. Ask the mixer or open a file in Sound Devices Wave Agent and see if there is any metadata in the track info provided by production audio.
Michael
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Does the audio file only consist of 8 ISO tracks or is one of them already a mix of 7 ISOs? If the latter, then Media Composer’s Autosync can use just the mix track as part of the process. I would autosync that to one of the cameras, then take the new .sync clip and group that and the other cameras as a group.
Michael
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Drag MXF files into the Avid MediaFiles>MXF>1 or other numbered folder. Launch Media Composer, open project, open bin. File import the AAF file that was created automatically as part of the transcode. It will link automatically to the media. Should you need the additional metadata from the ALE file (also created at the same time), then highlight all the clips, do a file import, set import options for shot log to “merge based on known sources”, select ALE, done.
Video on all of this at https://www.avid.com/red
Michael
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You can edit at 14:1 resolution at 23.976p and get an extra 20% savings in storage with a lot better looking picture quality for offline editing.
Michael
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It doesn’t have vignette type control that’s combined with color correction. While Symphony has additional color correction features compared to Media Composer, it is lagging in several areas compared to modern color correction systems, and has not really kept up over the years. Perhaps that will change in future versions.
In the meantime ,there are plug-ins you can consider to fill the gap – Magic Bullet Looks is one, and the new Baselight AVX plug-in gives you pretty much the entire Baselight functionality to either the Media Composer or Symphony color correction.
Magic Bullet Looks, $399: https://www.redgiantsoftware.com/products/all/magic-bullet-looks/
Baselight for MC, $995: https://www.filmlight.ltd.uk/products/editions/range_ed/index_ed.php#BaselightAvid
You can always look to using DaVinci Resolve Lite which is free and give you all this type control with AAF rountrip back to Media Composer. You can always do just the shots needed should you choose not to do the entire sequence.
DaVinci Resolve Lite, free: https://www.blackmagicdesign.com/products/davinciresolve/
Michael
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I am not arguing that point either – there are plenty of public companies that end of life products that are near and dear to some targeted group of any market. Apple is not alone – Avid has done it on many products, Autodesk as well as others, and many went out of business – they have either been eliminated, morphed or integrated into other solutions for whatever “fiscal” reasons determined by the company. And while “the industry” may seem large to those in “the industry” it pales in comparison to the size of any consumer market proving to pay a premium for a brand. The NLE portion of the “the industry” is even smaller. A lot of the market sizing I have seen has most of its growth in storage and asset management.
So while I understand your point, I am just saying that regardless of what anyone thinks about their product planning, Apple can afford not to care.
They still have an NLE, and they can continue development on that product in any direction they choose – most likely the most profitable based on ROI. But if they ever felt compelled to be in higher end post/broadcast space again, $100B will either buy a solution (as they did with FCP) or scale development on what they own quickly enough.
Professional NLE owners are fickle and demanding. The upgrade to later versions is not as high as most people think – Now due to support, development and related issues, a new OS (by the same company) would prompt up an upgrade as an older version was no longer supported. Now one can choose not to upgrade the OS, but there were enough other compelling features in the OS to move up. There was an interesting article on how the iOS 6 Maps and iPhone 5 connector did not affect sales of either one overall. I am sure the upgrade revenue numbers are far higher on those two products than all of the FCP numbers including the Apple hardware they were used on.
And I feel for all those that based their workflow, infrastructure, etc. on such a product. It was/is a great versatile tool that made its way into more productions than one can imagine. But I often wondered how well it would have done had it been its own company responsible for its own P&L based on the price of the product itself without the additional halo effect revenue it generated in hardware, OS, monitor sales, etc. But that halo effect is applied to FCPx with much larger total addressable market.