Michael Phillips
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COW Coin
Forum Replies Created
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The index is somewhat monitored by the green ball in the FIND window. You will see 1/4 green, 1/2, green, 3/4 green, all green depending on state. PhraseFind will find all instances of clips which is good and bad… In the case of master clips, subclips, .sync clips, group clips, and multigroup clips, all of them will be returned and their is no filter for “clip type” so you have to sort and scroll as needed.
There is a trick to make the the sequence timecode match the source timecode and that is by selecting the source clips and doing “AutoSequence”. That will lay all clips into the timeline where source and record timecode match. If shooting time of day, you will have black gaps where there is no material.
Michael Phillips
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Because you used PluralEyes to sync, all your sync media (picture and sound) exist as sequences. In addition to sequences being a bit more painful to edit from (drag into source monitor, rather than double click, etc.), you are finding that PhraseFind does not work on sequences. Now PhraseFind most likely found all the source audio that made up what is now in your sync sequence, but not helpful as you want to edit from the sync picture and sound.
In order to turn a sequence into a new synced source and behave like a source clip (subclip in this case), you need to make sure each sequence contains only one event. This is done by sub-sequencing each span of sync events in the timeline to its own sequence. The AutoSync those sequences to create a new subclip. I can Skype this via share desktop if you want to see how it works.
Michael
Michael Phillips
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Also, I see what you are seeing with PhraseFind, that once a filter has been applied, all subsequent PhraseFind searches will be filtered. I am referring to the first time a search is initiated, that it takes an extra step in re-entering the search term that was initially set in many cases to get to subfiltering stage. For example, If in my BWF metadata I got a character name Abby in the TRK4 column, I can search the word “Abby” and get all instances of the word regardless of column, then I need to re-enter “Abby” again the subfilter and select TRK4 to get just those results rather than being able to apply TRK4 right off the bat.
I also just discovered in testing this, that in the previous example, “Find” won’t find “Abby” in TRK4 column on the .sync subclip created regardless of filter or not. Which is not a good thing if I was looking for those clips…
Michael Phillips
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You need to mark each clip in the timeline (Mark Clip) and subclip that out to a bin so each sequence is only one event. From there you will be able to AutoSync as a new subclip source. Should be fairly quick to do. Park in the middle, select tracks, mark clip, option click in middle of record monitor and drag to bin. A new sequence is created.
Michael
Michael Phillips
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I don’t think I mentioned a video mixdown… that is a third option, but also will loose all links to any metadata if used as source for editing. In order of preference IMHO:
1. Ensure sequence has only one V track (V1) and whatever number of A tracks associated with it. Highlight sequence in bin, select AutoSync and you will now have a source subclip that retains all properties from its sources. You can do this on a duplicate of a sequence as the original sequence will disappear as it becomes a subclip.
2. Export each single event sequence as a QT reference, “Fast Import” or AMA link to it. Only metadata now will be whatever the sequence timecode was and filename of QT (which will be the sequence name)
3. Mixdown. No metadata.
Also, there have been no changes to the “Find” or PhraseFind. Basically you enter a search term, get a set of results, then apply the same search term again and select column of choice to use as a filter. A better approach would be to have the filters up front eliminating the need to re-enter the search term again for those who are well organized. That is what I am referring to. You get the same results, just fewer steps and a bit more intuitive.
Michael
Michael Phillips
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Which filter are you referring to? I’m pretty sure the initial search is an either/or – PhraseFind or bin based metadata. But maybe something has changed, I will need to look again. I haven’t had occasion lately to use it. Search has always been PhraseFind for all results, then use the additional filters to drill down to metadata in a specific column within a bin and then sort by bin, etc.
As far as making sequences into sources, there are a couple ways, but I would have to ask from what your sequences were made? I am going to assume you synced in the timeline? If so, take each event (if sequence is made of multiple events) and create sub-sequences where each sequences only contains V1 and audio tracks and are of all the same duration. Highlight these sequences then select AutoSync from the Bin Menu and they will turn into subclips.
Or… export your rendered sequence (if needed) as a QT reference, and bring it back into your project as a new source. AMA linked files will get indexed by PhraseFind but if sequence consisted of several clips, all bets are off for source metadata, EDLs, etc. if used as source in a new sequence. All you will have if filename of QT and whatever timecode the original sequence was at.
Michael
Michael Phillips
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PhraseFind always searches its entire database and does not yet search sequences. You can do a bin filtering after the fact as an additional step, but I agree it would be nice to have the filter at the front end of the search process.
Michael
Michael Phillips
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Certainly agree that there are different ways to approach this, and many productions will want to see the grading process in context of the edit – for all the reasons you state including pug-ins, layers, nests, etc. It’s the “ol’ mileage may vary” of control over the images once multiple streams are treated as one, and each production will decide what brings the best control over the image based on time and budget.
Michael
Michael Phillips
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Once offline is done, you are exporting an AAF, EDL and pointing to the original ProRes LogC files for final color correction in Resolve are you not? Isn’t that where you want to take full advantages of the color correction power of Resolve on the original LogC sources? Why the extra step of a conform/transcode in Media Composer before that?
Michael
Michael Phillips
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Correct – you are dealing with basically three things:
AAF, AFE, EDL, etc. all represent compositional metadata
MXF, QT, etc. represent wrapper (to the essence) and contains metadata about those sources
The “codec”: DNxHD, MPEG, etc, the essence that is the picture and sound files.A typical Avid scenario: An AAF composition that points to MXF wrapped DNxHD essence.
AMA can point to a QuickTime wrapped essence and sequences metadata can be EDL or AAF (with edit protocol).
Then it is up to Resolve to support all three depending on workflow to access composition metadata, source metadata, and codec.
Michael
Michael Phillips