Michael Phillips
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COW Coin
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If you don’t have a green dot, then all is good. Since you didn’t transcode in the 29.97 project, the frame rate persisted through to the 23.976 project and no motion adapters were applied. EDLs will be good as well. You’re all set.
Michael
Michael Phillips
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It seems you are going the mix & match route which is fine in order to not have to resync and such, and all metadata logged will still be there. The only side-effect may be a +/-1 frame type adjustment due to the 30->24 conversion, and you will still have whatever subtle stutter in the footage as it is a motion effect that is being applied to the sources. If you look in the timeline you will see that all the clips have a little green dot on them (or should). You may have gotten lucky and the original frame rate of the clip (23.976) persisted through the 29.97 project back to 23.976 and you will not have any motion adaptors. Check your timeline to see – if not, there will be no timecode adjustment to the clips. If you transcoded the material in the 29.97 project, then it becomes as though it were a native 29.97 clip back in your 23.976 project and subject to timecode conversions.
Bouke raises a very interesting workaround with AutoSequence and then Autosyncing all the picture only clips to the single BWF file… hmmmm. Gonna have to try that one.
Michael
Michael Phillips
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Welcome to the world of low-budget filmmaking! And unfortunately there is no way to just convert those clips to be at their native rate as they have already done through two conversions – the first one when you opened 23.976 clips in a 29.97 project – 2:3 pulldown was added. Now opening those clips in a 23.976 does another pass – unfortunately it does not seem that Media Composer is undoing what it did in the first place and doing the mix and match slightly differently. The mix & match feature is a great one – but does still have areas of improvement for edge cases such as this one.
Also, you will want to make sure the clips are edited natively from the get-go for EDL purposes and such to ensure a frame accurate conform in the end.
So I regret saying that you will have to start the syncing process over, if you want to remove the stutter created by the frame rate conversion. I am also a little surprised that if you could shoot on an Alexa why you couldn’t jam sync timecode to the audio recorder. But it’s a little late for that. This is a case of saving a little money up front costs more in the end – usually time. Not trying to sound condescending, just some education for others who might read this post and learn for their first film.
Michael
Michael Phillips
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There is no such functionality with ScriptSync and has no export capabilities. ScriptSync is really opening a flattened .text file and then an overlay of clips that syncs based on a line per line basis. That relationship is part of the clip, but nothing that can be repurposed for any database type function.
Michael
Michael Phillips
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I agree with Oliver’s points, and everything needs to be tested. As I mentioned, I have only seen files from the RED camera and the filenames do match, but I do not believe the same works for Arri Alexa at this time. The Arri needs to send that info down the HD-SDI as part of a future camera firmware update.
But there is still nothing better than working with the original camera originals in order to know that those files are all correct, not corrupt with a card transfer, etc. Same as the film days – the camera tap was nice, but it wasn’t what you were shooting. 🙂 Digital certainly makes that closer, but knowing the original files work, and play all the way through is comforting.
Michael
Michael Phillips
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I’ve only done workflow conform verification with the PIX240 and R3D files – I have yet to get sample files for PIX and Arri – the one step you need to absolutely do is conform the timecode match with a quick test on-set. The PIX240 allows you to enter an offset to make sure it matches for whatever delays might be introduced from sensor to LUT over HD-SDI. So while the first frame of recorder file may not be the same (~1-3 frames), the timecode of the first frame of the DNxHD proxy should be the same frame in the Arri/RED file (for example, the clap frame).
I also don’t know for Arri whether it sends the 8 character Reel_Name or the entire Filename – either way, as long as you conform system works with either one, then you’re good.
Michael
Michael Phillips
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That is certainly a solution to consider. Since the HD-SDI uses a REC.709 LUT for monitoring, then it is already applied when recording to DNxHD in the recorder. It also eliminates the transcode step as it happens in real time during the recording process.
Michael
Michael Phillips
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And the reason it worked for RED R3D is that Media Composer supports the RMD file, RED’s version of LUT in the sense that it contains all the color metadata that gets applied to the RAW image. This is done via the RED SDK that is part of the R3D AMA plug-in. Media Composer does not yet have a generic LUT support for different camera formats at this time.
Michael
Michael Phillips
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Just make sure you settle on how you want to interpret the REEL info – you can use what is embedded (8 characters) or the entire filename. This is set up in Resolve on the configuration page. If you start with embedded, and then choose later to relink via AMA to the “un-lUT’d” files for conform and color correction it may not work due to differences in REEL ID assignment. So make sure you decide how you want to finish and master and work backwards from there.
Michael
Michael Phillips
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You should be fine dragging in from MediaTool or importing the mmd file from each folder containing the .mxf files. The MXF wrapper carries the minimum information needed such as filename as TAPE and primary timecode (TOD) in the START column. AAF is used to quickly import to a bin and links to the media, avoiding searching through the MediaTool so you have quick organization and relink in one step. The AAF doesn’t carry much more metadata than what is already in the MXF wrapper. The ALE is used by some production that need all the metadata such as the additional timecocde and this is done by merging.
But for a straightforward TAPE (filename) and Timecde (TOD) conform, you are all set.
Michael
Michael Phillips