Michael Phillips
1
COW Coin
Forum Replies Created
-
And I forgot to add that using Redcine X Pro does not add the _001, _002 for spanned files as the SDK handles how they are all connected. AMA ignores that and creates a file name with _001, etc. It may still work, but I prefer the filename on its own for EDL’s and such – especially when going to Resolve and using “embedded in file” as the source ID.
Michael
-
The following video, while somewhat dated, is still valid to show you the different ways to get R3D into Media Composer:
Any of the methods will get you an AAF or EDL that will work in DaVinci Resolve but my own preferred method is to use RedCine X Pro over AMA to make native MXF/DNxHD 36 for offline for the following reasons:
1. Full control over all color parameters
2. one checkbox to make SMPTE legal for video levels
3. Doesn’t tie up my MC when used in the background
4. Supports latest Red Color science immediatelyAnd if double system audio, I prefer syncing in MC as it retains all the metadata from the BEXT chunk and AutoSync allows for quick sync to MIX track only if using MIX + ISO.
Many people have had success with direct AMA link for editing. It all depends on system performance and program expectations such as multicam, lots of layers and such.
Michael
-
Locators/Markers do not have the ability to be automated as far as renaming – all of that is a manual process. There is a method by which you can export the locator/marker window as a TAB file, but you would need to know what the clip name was in order to automate that in a third party program.
In general there is no automation within Media Composer that can be controlled via scripts and such. Some repeatable actions can be scripted with third party software like HotKeys.
Michael
-
What’s a .revs file?
If you already have AMA links to the footage – just select the clips in the bin and select “consolidate/transcode” from the Clip menu and choose codec of your choice from there.
Michael
-
As mention already, H.264 is not an optimized codec for editing – and another factor to consider is the speed of the hard drive and its connectivity to the computer. This also can adversely affect performance. Especially when doing two input type effects such as PIP, etc.
Michael
-
…or highlight the sequence and the correct master clip you want to link to, then to a “relink to selected” in the Relink dialog pane.
Michael
-
Is it something in the project type? Since 35:1 is an SD data rate… just thinking out loud. Make sure the project format is the same in all the rooms from the one that is working?
Michael
-
Some panels do take 23.976 but they don’t like the PsF nature of the signal. Is there a checkbox somewhere to make it straight “P” instead? The DX hardware finally added that support with last few versions of MC software.
Also, I don’t know for sure whether this falls into the “universal mastering” feature set of Symphony or not where 59.94 might be considered one of those rates. Are you on MC or Symphony when you see the issue?
I don’t have the same set-up so I can’t test to be sure.
Michael
-
Interesting… on software only, everything ends up being 48kHz or less based on project settings. Waiting to get the straight scoop for engineering. It most likely is tied to the hardware, but I guess I never checked the project settings to see what might be in there with different hardware attached. There is no mention of this added behavior on the Avid webpage for third party I/O.
https://avid.force.com/pkb/articles/en_US/FAQ/en422991
Michael
-
hmmm… interesting. I should read those. 😉
Does it have any details about what that means? Playback only? Render? AMA versus Import? I’ll make a call into some folks.
Good to know, thanks. Although I still think it’s overkill for dialog…
Michae