Michael Phillips
1
COW Coin
Forum Replies Created
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Yes, for those elements that used the 29.97. That’s why some indication in a separate column to let you know those clips came from a different project/frame rate as they would need to be brought back in the same way. “In theory” this is how it would work. AMA can be cranky and I have never done a multiframe rate AMA conform. I just know that if you don’t indicate which clips came from another frame rate, it will all be lost if you transcode in the active project frame rate.
If there is not a lot of 29.97 footage, you may want to just transcode that to your final resolution (DNxHD 115, 175x?).
Michael
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I agree with Shane that this is resolution independence, but… it’s not like 1080 is not supported already for this particular situation. It would be a simple property to the clip to ignore the automatic scaling and extract or pan&scan the SD frame from within the 1080 frame. I say simple, but there’s probably a lot of work to be done in the architecture. But the Pan & Scan (reformat) effect has a lot of this in place already.
Michael
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Yes – transcode to resolution that is close to 14:1 – I would then, just to have the original timecode around is duplicate the original 30fps timecode while in the 29.97 project to the TC30 column. Once transcoded, then open that bin in your 23.976 project. If for whatever reason, you render/transcode any of those clips again, you will have an idea of which clips came from the 29.97 by looking at the TC 30 column and still track the original timecode if needed.
Online would be a repeat of the process with a different quality render.
Seems like some of this management could be automated, but that changed in v6 with the transcode losing all reference to original sources when transcoding in a frame rate other than the source. Just a bit more work for to manage.
Michael
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Well that will only grab the first 8 characters from the Tape field which would take:
B030C002_120819_R1XC_3cP_DNxHD_MXF
and make it
B030C002
Which may or may not work assuming its the only file with that start to the filename. Usually the 8 character representation of a ProRes file as done by the camera and listed as REEL in the QuickTime header would be:
B030R1XC
It will be interesting to see what you hear back.
Michael
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Which EDL template did you use? You would need to use the File_32 to get the entire string in the EDL as currently define in the Tape column.
Michael
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You should also be aware that the files as they are being created now can never have an EDL generated from them that would make sense to any system out there. If you look at the frame grab I did, the metadata in the Tape field shows as:
B030C002_120819_R1XC_3cP_DNxHD_MXF
and not
B030C002_120819_R1XCSo either some text editing in the EDL or some expression work for source relink will need to be done. They really need to change that ASAP. In the meantime, you might want to hilight the NAME column, so a command-D or contrl-D and select Labroll or Camroll from the pop-up dialog box. This way you can generate an EDL on the proper filename.
Michael
Michael Phillips
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Glad to help. And 3cP should remember me… 😉 Haven’t spoken to then in a while though.
Michael
Michael Phillips
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Thanks for the files. Here is what I found:
1. MXF file plays fine
2. AAF imports and directly links to MXF file as expected
3. ALE will not merge because it is not correctly structured. As you can see in the frame grab that compares both the MXF/AAF and the ALE file, the reference to the source is incorrect. The AAF shows it in the TAPE column which is what the Avid AMT does, but the source name is the name of the AAF file and not the original ProRes file. The ALE file is incorrect as Source File is used for files referenced under AMA and there is no value in TAPE which is needed in order to merge. There needs to be a match – either Source File to Source File or Tape to Tape.Someone from 3cP needs to get a hold of someone at Avid, or hire me (;)). I consult with manufacturers on these types of issues.
Michael
Michael Phillips
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Sounds good. email: michael(at)24p(dot)com
Michael
Michael Phillips
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Sounds like 3CP and/or Avid AMT is not properly creating the AAF files. That shouldn’t be the case. But the AAF file itself will be quite small as it is only the metadata and points to the MXF media.
MXF files copied to the Avid MediaFiles/MXF/1 (or other numbered folder)
AAF import or dragged and dropped into the bin.If you have a small file, I can take a look at the MXF/AAF/ and ALE.
Michael
Michael Phillips
