Michael Phillips
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COW Coin
Forum Replies Created
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I think it depends on the pipeline of the video player from the application. I would love it too if it were an actual video signal being passed through, but my guess, at least for Media Composer, is that is will behave like a second graphics monitor with full screen play.
Michael
Michael Phillips
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Also make sure that “render on the fly” is active. But I have ran into this where trim won’t show any image depending on effect.
Michael
Michael Phillips
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From what I am told, it is a bug to be addressed in the next dot release. Certainly is a bad one for trim. Hope it comes out soon.
Michael
Michael Phillips
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It probably depends on how FCP is flagging the frame rate in the clip in the AAF. AAF is only as good as what goes into it, and how its interpreted on the way out. I don’t know if EDL will be any better or not, as I have not seen mixed frame rates flagged in EDL as to original rate and sequence rate. Perhaps that is the same issue with what is going into the AAF.
For the simple sequences you just made, what does the XML export look like as far as frame rate metadata and timecode used for those formats?
Michael
Michael Phillips
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They will all be in sync as they are running at the same fps (23.976) with 24 frame timecode. So you are all set there. There is no such thing as 24DF timecode.
Editing will be 23.976, but you can track 29.97DF count on the sequence side (record TC) to meet deliverables.
Michael
Michael Phillips
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It’s how offline primetime has been doing it for years – edit at 23.976, look at 29.97DF as the timecode.
The master TC tracks also track 25, 30 with no pulldown, 25 with pulldown etc. to have EDL’s and such match the tape outputs as needed.
One of the major benefits of this is that the master output to tape has a continuous cadence for the broadcast encoder. At the time, I even designed in the LTC to be NDF so that the encoder could flag the “A” frame in a consistent pattern even though the timecode on tape was drop frame.
Once could do this by dragging the segments into a 29.97/59.94 project but a mixdown needs to be done first in order to preserve continuous cadence across edits. If you just open the sequence without a mixdown, each event gets its own cadence resulting in cadence breaks at edit points and possibly cadence mismatch for layers and nests in relationship to each other. I “think” each frame of each event starts with “A”, but depending on duration, the output will not always be “D”. There’s a 80% chance that it won’t be. And encoders have an even harder time when encoding when layers within segments have different cadences.
I also designed a method in the late 90’s for cadence align (not implemented), where in a 29.97 sequence with 2:3 pulldown cadence it would align layers upon request by slipping based on the priority clip. This avoided the remove pulldown, make effect, and render 2:3 back out. Same for titles over 2:3 based material.
Michael
Michael Phillips
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Both Media Composer and Symphony have for years been able to track all timecode rates when working at 23.976. 24. etc. Above the record monitor, set the master timecode to 29.97DF and you are good to go. That is where the frames will fall when output to tape. You also get a cadence indicator as well.
Michael
Michael Phillips
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I have found that error to pop up more frequently the longer the source clip duration… how long are the clips being transcoded? Are they from spanned files?
Michael
Michael Phillips
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The Find function is for clips, subclips, text in columns and in scripts/transcripts, but not for bin names (good feature request). Perhaps a workaround is to look or a clip you know to be in that bin, or create a dummy clip in the bin with the same name as the bin as you create them.
Michael
Michael Phillips
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“UI droppings…”
I agree it is ugly but not high priority. There are a several areas with the new UI changes in v6 that have redraw and other issues that still need to be dealt with (floating windows, etc.). In this particular case I do a ctrl-T or cmnd-T to clean up the columns and it gets rid of those marks.
Michael
Michael Phillips