Michael Phillips
1
COW Coin
Forum Replies Created
-
You will always lose whatever your preroll is set to. That’s the world of linear tape for you compared to file-based. That’s why in the “older” days, camera always tried to roll 5-6 seconds before anything was to happen (if possible). If the pre-roll was important, then a sub to another tape was done with continuous timecode.
Michael
-
Lots of questions back to you?
1. Do you have digitize across timecode breaks enabled in settings?
2. Are you capturing via FireWire, analog or SDI?
3. I noticed you mentioned finishing at DNxHD 175 which is a 23.976/24/25 progressive data rate. Are you planning on mastering at 30i or 23.976p?Not only is it inserting pulldown but a downrez at the same time? Try capturing in a 1080p/23.976 project with the timecode break setting and see if that works. Set a MARK IN and head of time and do a capture on the fly from MARK IN and let us know.
Michael
-
I think it involved a Boris Plug-in of some type to do the scaling in an SD project with HD footage. Unsure of the actual steps.
Michael
-
I guess it comes down to what your definition of working with grouped shot is… You can load a group clip, and view the source as a 4 way or 9 way…
Michael
-
They can just provide you with either an AAF or the media with the same filename as source and timecode. You will need 6.5 as the relink will work between Tape and Source File (AMA). If you get an AAF back, and it has all your VFX, layers and such, then you’re all set. In that case, you don’t need v6.5.
Michael
-
What does the histogram show you when you AMA link directly to the files? The two white lines are video levels (16-235) and anything beyond that is full range. Even if clips are full range, there is no truncating or clipping once brought in to the system. Check internal scopes and compare. But – if you are monitoring over hardware I/O, there may be a clipping or pass-through for only 16-235 video range which would remove any expected detail in the deep shadows.
But the histogram will tell you if anything is being lost or not depending on selection of the three levels. I suspect the transcode to ProRes is the same as “do not modify” in the AMA settings.
Michael
-
First make sure that the AAF from the converted XML has the same source information that was used in the transcode – it will either be in the Source File or Tape columns. And they will hopefully match the original file names although there is a very good chance that the original clips will be tracked via the “Source File Column” while your AAF has it in Tape – but you need to confirm that.
Either way – highlight the clips you want to relink it to in all the bin(s), and then highlight the seqeunce. Right click the sequence and do a “relink”. In the relink dialog window, check “relink to selected” and in the “relink by” section, choose timecode (default) and “Tape name or Source File” from the source name menu. I would deselect “match case when comparing source names” and then click OK.
That “should” do it barring any other renaming issue that may have occured on its trip to FCP and back.
This assumes that your client was using your media… if they just linked to the files directly, then FCP does not use the entire filename, but the truncated 8 character version that is listed as REEL inside the QT header… that is another problem considering Media Composer does not extract that Reel ID via AMA and unless you imported the ALE that was created in camera when shooting, the process will be quite manual…
Michael
-
Does the Pull List need to be any predefined format? EDL comments doesn’t use comments from a bin column but from the comments on a per segment basis in the timeline.
I use the XML export from FilmScribe (or TAB) that will include a shoot date if the column is there and has a variety of pull lists that can be generated.
If you’re not familiar with FilmScribe, then put the sequence or a copy of the sequence in a bin on its own. Create a bin view with the columns you want to track as part of the list, go to bin menu (hamburger in bottom left corner) and select “set bin display”. Check only master clips to show and “show reference clips. Once you click OK, those are the clips used in your sequence. Sort as needed. Select all clips and export bin as TAB file for use in Excel, FileMaker Pro etc, as needed.
Michael
-
When you moved the assets to the other computer, did you also copy the Avid MediaFiles/MXF folders and put that folder at the root of the new drive? If not, your audio media will not be recognized by MC.
Michael
-
Mixing down and exporting same as source is the way to go and not get the gamma shift issues.
Michael