Michael Phillips
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COW Coin
Forum Replies Created
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Well if you feel you have the performance to continue editing via AMA, give it a shot. If you want it to be Avid managed ProRes or DNxHD, the process is the same; highlight all the clips in the bin, go to clip and select consolidate/transcode. Once the new window opens, select transcode, target drive, and codec. Then OK.
Michael
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Is the material recorded dialog or music? I think 96kHz is overkill for audio recording.
That being said, there are no workaorunds for 96kHz editing within Media Composer. AMA linking is only being resampled on the fly to 48kHz when playing. Also, never use AMA for BWF files as the timecode decode is handled by QuickTime and you will never be accurate as with a direct BWF import which grabs all the BEXT chunk metadata such as scene/take, track info and… correct timecode.
Pro Tools can conform to the original files if you import them directly and maintain the source file names properly during editorial. I would suggest that once you import the BWF files, their full filename exists in the TapeID column – highlight that column, do a command-D/control-D and select Soundroll from the pop-up dialog box and click OK. Now the sources are being tracked in the Soundroll column where many users expect to see the source name. Do not use the SoundTC column for audio timecode as it continues to be hard-coded for 30fps regardless of project type.
Michael
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Just be aware that a fast import of a ProRes file is done by import, not AMA. But in the end, AMA may be faster than trying to figure out hw to preserve original aspect ratio within a 16:9 raster.
Michael
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You might have to play with the crop and scale in order to get a letterboxed 16:9 clip at either 1280×720 or 1920×1080. Where are these files coming from with that X/Y pixel count?
Michael
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It is not a fast import because the source clip size is not the same as your project size of either 1280×720 or 1920 x 1080. The import is having to do a resize, pad, scale, etc.
Michael
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Media Mover can help if you have multiple projects that being managed. If it’s only one project, then it’s just a matter of copying the Avid MediaFile folders. Or you can always just keep what’s in the final sequence by consolidating to a target drive when done.
Michael
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Or if you are already archiving the R3D files, is there a need to also archive the MXF files as well? All you need to archive is the project and bins, and then you have the ability to recreate from the original sources as needed.
Michael
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They’ve “known” for years! It’s always been a matter of priority and a bunch of other stuff. Maybe now since the last RIF and sell-off of the consumer side, and declared commitment to the professional space, DPX and similar type functionality will be added. My guess is that Avid add DPX when they add resolution independence and LUT support.
Although anyone can get an AMA license and develop one, DPX seems more like something Avid should do as it is difficult to monetize AMA if you are not a camera company and it’s only a conduit to your format. A third party making an AMA plug-in will have difficulty other than a shareware type sale as their is no provision for licensing protection. At least last year at this time when I looked into it for a couple of AMA ideas.
Michael
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I think part of the debate is whether this release really qualifies as a .5 release when there was no .1, .2, .3, etc. ever released. Depending on which market you serve, and needs in your own workflows, it could be considered a .2 or a .3 and not a full .5.
Now there have been several postings that there will be updates to 6.0.x which will be great. It just seems to me that in planning releases, and not to raise the ire of the Avid user community, they could have planned to release a .5 as well as a “fixes” update via a point release to 6.0.x at the same time. But that takes additional testing and marketing effort and with a reduced workforce is most likely not possible – maybe in the future.
And like many Avid MC features, a lot of them are the start of something bigger that will evolve over time (I hope) and AS02 has the basis for something post types would like which is expanding the J2K codec by rewrapping it with a DCP MXF file format but would also need a Rec.709 -> XYZ color space conversion which leads to input, output and monitoring LUT support…
I would suspect that most people in this community will not find use for Avid Interplay Sphere, AS02, etc. but there is a handful of useful features for “editorial” and conform that will be appreciated. Then the debate becomes how much is that worth. If you editing, 64 voices and ability to drag and drop filler with clips will be nice. If you do a lot of conforms starting with AMA or ending with AMA and use third party tools as part of the process, the ability to relink source on any column and timecode on any timecode column will be a lifesaver. Not the most intuitive UI for making it work, but it does work. Still have some limitations manly based on AMA limitation in my opinion with formats that allow 8 character REEL tracking (Alexa ProRes for example) and AMA’s inability to extract that natively could possibly cause some relinking issues if not planned for ahead of time.
There will be an update to the RED AMA plug-in that will support RedColor 3 science (only), unclear at this time is whether that will only work with 6.5 or if it should just work with v6 as well. I suspect the latter, but is only a guess on my part.
Michael
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There as no added functionality in the stereo 3D feature set that I have seen. There may have been some fixes to EDL Manager for stereo 3D timelines.
Michael