Michael Phillips
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COW Coin
Forum Replies Created
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Not near my system but perhaps you have to be in multicam mode to see it now? There were several changes to the UI with v6 (like the gang button) and this may have been affected as well.
Michael
Michael Phillips
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For group naming purposes you can always export an ALE of all relevant columns including S3D Group Name and open in Excel as a tab delimited file. In the S3D Group Name column, have excel name the clips in ascending order. Do the same for the other eye. Make sure both eyes are sorted in similar order before exporting and opening in Excel. This will at least get you a common group name on which to create the S3D clip.
As far as timecode, or not, or not having first frame of file match, that will be a manual process of defining sync between the eyes. If there is a known and consistent offset, one might be able to add a Mark In column in Excel with the timecode value and use that once ALE file is merged back into the original clips.
Michael
Michael Phillips
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You are falling into the large gray area of bug/feature request.
Michael
Michael Phillips
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Not even a common name or timecode?
Michael Phillips
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I believe it’s because mixdowns are similar to render files and don’t carry through the metadata from the sources as part of the process. Nor ides it have a TAPE or SOURCE FILE MOB attached to it which allows it to have timecode and other metadata attached to it.
Michael
Michael Phillips
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That’s why I stay away form mixdowns and its inability to persist original source metadata. Try highlighting the START column of your .sync clips and do a command-D (OSX) or control-D (Win) and select AuxTC1 (or whatever AuxTC column that is free of metadata) and click OK. Now display the same AuxTC column above the monitor and see if that works.
I fear that the mixdown doesn’t have a TAPE or SOURCE MOB to allow those timecode tracks to work, but AuxTC tracks have a different behavior which may work as a workaround.
Michael
Michael Phillips
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I’m trying to remember your last experience… 😉
Anyway, if you want to use R3D in Resolve, I would create an EDL Pull list in Avid MC by putting the sequence into its bin, decompose with whatever handles you want to have available. Drag and drop all .new clips into a new timeline. Export File_16 EDL. Import into REDCINE X (make sure to have “slugs” active in EDL preferences). From there you can do either a copy or R3D consolidate of the R3D files for use in Resolve. From Avid, create an EDL or AAF for conform in Resolve and link to files within Resolve.
If you started AMA for offline (with transcode or not), you can conform via AMA to the original R3D files and transcode there to MXF wrapped DNxHD of your choice, then send AAF to Resolve via the MXF relink workflow if you want to work with DNxHD as your master. There is no advantage here conforming to just send R3D links for Resolve to use.
Michael
Michael Phillips
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Do you want to color correct/resize, etc. from the original R3D file, or form the conformed and transcoded DNxHD material? Both are possible, you just need to decide which way you want to go.
Michael
Michael Phillips
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And many programs might actually prefer using 00:00:00:00 as a start for clips that don’t have timecode as some programs (as seen here with this example) interpret timecode in different ways. Some programs will use creation date and timestamp and write it out to HH:MM:SS:00 always ending in :00 while others also interpret a frame count. Depending on program and frame rate, you could be off by 29 frames. Not to mention proper calculations of 23.976*(100/1000) and 24*(1000/1001).
Another NLE when interpreting timecode does not take into account UTC, so if shooting before or daylight savings time and conforming afterwards will cause a 1 hour mismatch. Depending on schedules, applications used and such, a mix and match of any of these methods will cause headaches.
That is why 00:00:00:00 can actually be a nice method with no interpretation needed other than frame rate as to how that counts for sources that do not have the timecode embedded by the camera itself.
But I will add that having time of day interpreted by creation date and timestamp is handy for editors to have an additional piece of metadata to help them find a piece of media – like when a producer or director goes; “I think we shot something last Tuesday afternoon right after lunch”. That timecode (if interpreted) could be tracked in a separate timecode column for doing those types of searches with a shoot date.
Michael
Michael Phillips
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And can have the LogC applied if shot that way to make proper REC 709 dailies. Just make sure you set up the source correctly for filename, etc.
Michael
Michael Phillips