Michael Phillips
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COW Coin
Forum Replies Created
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Highlight the clip or clips to which you want sequence to link to. Then highlight the sequence (they don’t need to be in the same bins). Just select the sequence, right click, relink. In the dialog box, I believe the second radio button down is “relink to selected”. Change settings as needed.
Michael
Michael Phillips
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Are you trying to relink from a sequence? If so, try relink to selected.
Michael
Michael Phillips
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If its excessive to the indexing engine, then it might need to be cleaned up. Users have had good success with https://www.izotope.com/products/audio/msc/
You could export the WAV process, then autoSync back to the original files easily enough as they would have matching timecode and the Autosync options would strip the old audio off all in one pass.
Michael
Michael Phillips
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Are you referring to a script in screenplay format or a transcript? In both cases, formatting and elements you don’t want indexed need to be considered.
Script:
In screenplay formats, you need to ensure that only the dialog is being indexed and not all the other Action, Scene Heading, etc. This is done by ensuring that all dialog starts “n” number of spaces of left margin. Screenplay application like Final Draft do this as a matter of course and all you need to do is “save as text with layout” to preserve the look. In the script settings, you can select “dialog” from the script and it will do the offset identification for you.
Transcript:
Less formatting that a screenplay, but still some considerations as to items you do not want indexed and synced. For example, for an interview type transcript if the interviewer and interviewee are labelled, then you want to make sure there are [ ] around that. The brackets tell the indexing engine to ignore what’s in between. Same for timecode, and anything else that would not be part of the dialog being spoken in the footage.
Also, for long transcripts, you will want to have more granularity since the indexing is line based. You can make the amount of characters per line shorter by setting the margins larger before saving as text with layout.
Michael
Michael Phillips
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I use the ScriptSync function in Media Composer for anything that is scripted or transcripted as it presents the most unique method by which to edit – so the more complete the transcript, the more accurate and granular the edit becomes when working directly off the tran(script).
In your scenario, the summary seems to work fine and perhaps these tools will find a place in your workflow.
I have been following these technologies for a long while now, and one of the more interesting ones is speaker identification is finally becoming something useable – so not only would a search include “someone that says this..” but also “who says it”. Imagine dialog replacement… and in those scenarios, no script or transcript is needed. Tools like PhraseFind for Media Composer and Get for FCP and Premiere bring this type of technology to the end user. I am keeping a close eye on what that will become.
Michael
Michael Phillips
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It will be interesting to see where speech to text goes over time, as the overall percentage of “correct” has flat lined for the most part over the years – probably due to the fact that these are dictionary based conversions and languages change over time.
But that aside, many companies, broadcasters and such use it as means to jump start the transcription process where they will listen to the dialog via headphones and repeat back into the diction software, then make any corrections from there. But in tests so far, a fast typists still beats this method in both time and accuracy, but that is always a decision of budget for who you’re hiring. Things may change in the future.
I have also tried using speech as a means to drive the editing software – not this has been a while, but I was much faster using keyboard and mouse than dictating the commands. Simple things like play and stop were almost a wash in time – but everything else was slower. Speech is a real time process, many things including thought are faster than real time.
Michael
Michael Phillips
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You don’t have to start over if you want Avid managed media. You can always select your .sync clips and transcode them and the process will make DMxHD or ProRes (your choice in settings). From there, you will have the media in the Avid MediaFiles folder which can be copied to the other system. From there, it is a matter of sending bins. I work this way with a co-editor on the west coast while I am on the east coast. I use DNxHD 36 as an offline proxy, and I get 65 hours on a single 1TB drive.
Once you get the hang of what works best for any given workflow, it will smooth out – and features are the trial by fire method.
Michael
Michael Phillips
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Well the sharing between two systems is a bit out of the AMA feature set – works great with Avid managed media. You would still have native ProRes support via the fast import with the added benefit of being Avid managed. AMA works pretty well on a single system, single user, but I would still take caution of doing an entire feature via AMA – I always transcode regardless of original codec to an offline proxy, edit and conform.
Michael
Michael Phillips
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Now you are seeing some of the issues related to AMA and the difference between user managed media (AMA) and Avid managed media (Avid MediaFiles folder). If the media was imported (ProRes) it can stay ProRes but be managed via the Avid MediaFiles folder. BWF should be imported as well. Once managed in the MediaFile folder structure, and copied to the editor’s drive – you can swap bins all the time and it links automatically. with AMA, the UNC path will can be different and managing it can cause headaches.
So while the ProRes can be edited natively, it’s the file management of AMA that becomes the challenge in your scenario. Importing the ProRes will be a ‘fast import” and remain ProRes.
Michael
Michael Phillips
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There’s the good and bad of AMA- you were lucky to have not transcoded as the fact it was originally a 23.976 clip would have been lost and you would have had the motion effect adapters and +/-1 frame for EDL.
Good luck with the rest of the project.
Michael
Michael Phillips