Michael Phillips
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COW Coin
Forum Replies Created
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I’ve come across that from time to time – no explanation for it, but I got around it by subclipping first, then transcoding the subclips. It may or may not work depending on the material, and in those cases, one subclip ends the frame before the next one starts (as in the case of an interview, etc.)
Michael
Michael Phillips
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Depending on amount of footage and such, one “might” consider AMA direct to the ProRes, but performance and management will be hit & miss depending on what you are trying to do. Perhaps the 30 day free trial can be used on the road to make “dailies” via AMA and a transcode to save some time. H.264 is more processor intensive to decode and play back than ProRes – albeit smaller file size.
PluralEyes is a cool product and works well, but I find it has too many steps to make an overall effort worthwhile if claps were used. It’s fantastic for the shoots that have no timecode or slates. I can sync faster with a slate than the multiple step process to sync with PluralEyes in Media Composer. This would be another advantage of using the 30 day free trial on the road – you can also prep dailies all the way through sync and organization.
If doing an offline/relink online workflow, then you can save some drive space by transcoding to DNxHD 36 first. You can fit 65 hours of DNxHD 36 on a 1TB drive.
Michael
Michael Phillips
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You can also use AutoSequence which was designed for virtual reel creation. Selecting all clips and then AutoSequence will create a sequence where source timecode matches record side timecode. So if using TOD, there very well may be black gaps between clips. If you use the “option/ALT” key while selecting AutoSequence, it will create the same sequence with no gaps, (and no matching timecode between source/record). The AutoSequence process will also clear all marks in the process.
Michael
Michael Phillips
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I wouldn’t take the extra step of making ProRes and go directly to DNxHD via AMA. Link to Canon .mov files via AMA, then transcode within Symphony to make DNxHD. DNxHD 115/145 should be fine as a codec data rate choice.
For organization, there are several ways to go about it – you can sync the double system sound first (see AutoSync) and create a new .sync subclip for each take. From there you can assemble sequences (select reels) and use that as source. While this works, you cannot double click a sequence into the source monitor, it needs to be dragged and dropped into the source.
You can make group clips, or multigroup clips to further organize this footage. Read up on multicam editing to best plan how you want to approach that. If your interviews have transcripts, you might consider ScriptSync for a very unique method of organization and editing. If not, then PhraseFind can be used to quickly access spoken words or phrases across all sources – but not for sequences. So if these are used, you might want to reconsider the sequence selects reel approach.
Michael
Michael Phillips
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There seems to be a bug in v6 with AutoSync (and perhaps grouping) but try stripping the original V clips of their audio beforehand (subclip v Only), sync to field audio via AutoSync or group V only clips and field audio based on your marks. That should get you past the error.
Michael
Michael Phillips
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According to the AMA website, v1.7 only runs on v6.
https://avid.force.com/pkb/articles/en_US/Download/en394823
Michael
Michael Phillips
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If you’re going to go back to the original R3D files, then you might consider DNxHD36 and save some storage. Also, how are you going to finish, in Avid or other application? It’s just there’s a slight difference in source ID management between AMA and making dailies in RedCine X. Either one can work, just be aware of the entire workflow, and as Pat says, test it out.
Michael
Michael Phillips
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Regardless of tapeless or not, there are still methods to make this work. In file based world, every clip now has its own unique source name whereas tape-based sources could be the same and differentiated by timecode.
Considerations are when using AMA, the source is managed in a “SOURCE FILE” column and every other third party application that is out there puts the source in the TAPE column. A feature to v6 was added to allow relinking of source across SOURCE FILE and TAPE to allow for this. But it still does not work in the case of RED and spanned R3D files as AMA puts the _001 at the end of the filename and everyone else just has the filename without the spanned _001 in it. The relink does not know how to ignore this.
Also, you need to make sure that in Resolve you ensure that the original filename is being used for the source identification. Using embedded does not always work. You need to us “*/%R.%” in the timecode conform options as the string syntax to ensure the entire filename is being used.
Michael
Michael Phillips
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Do the source names match when the files are returned from Resolve? As in the value found in the TAPE column? Look at the source names on the original sequence in TAPE and see if they are the same (exactly) when returned.
Michael
Michael Phillips
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Does your bin contain the master clips from the color correction session? If so, highlight both the original sequence and the new master clips and do a “relink to selected” to see if that sticks.
Michael
Michael Phillips