Michael Phillips
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COW Coin
Forum Replies Created
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Pat – you should be able to export an AAF of AMA linked clips by checking “use edit protocol”. Avid is not clear as to what the does, removes, allows, etc. but I have done it on AMA edited sequences with cuts. dissolves, etc.
Michael
Michael Phillips
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Because changing levels is not the same as the LogC to REC709 LUT. Do a comparison between the two and you can see the differences. Also, exporting, linking, and all that is not needed by just making native DNxHD in the first place all managed by Avid MediaFile structure.
I’m just saying what works for me. Better looking images in offline, fewer steps with the advantages of Avid managed native MXF wrapped DNxHD media without the performance issues that may arise with AMA link, and if I transcode, dealing with the additional .new clips, etc. Making nice clean dailies up front with all relevant metadata keeps my editorial very straightforward. And syncing my audio to those clips I an automate my scene/take clip naming while retaining all the BWF metadata. From there, a relink, or AAF, or EDL for any other system is easily managed.
Michael
Michael Phillips
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I create dailies with Resolve for ProRes LogC all the time for my projects. All I do is use the following syntax in the “Specify Reel Extraction Pattern”:
*/%R.%
That way I apply the LUT directly to my offline DNxHD36 and have Avid ready to edit media. If I need additional CDL values, I then merge the ALE into the existing master clips. Having the full filename allows for relinking back to the original files as needed either via AAF or the Char_32 EDL template.
And then I sync as per my previous post.
Michael
Michael Phillips
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I would add to MM’s comment by adding with all BWF metadata, track info, pullup/pulldown (if needed), timecode conversion (if needed) Mix and ISO tracks selection during sync, resync, etc. Far better than any automated on-set “dailies” system can offer today.
Michael
Michael Phillips
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It’s a combination of things. Media Composer is a REC601/709 editing system and assumes that a critical viewing is done via calibrated REC601/708 monitors via a hardware I/O. The UI screens are not designed for critical color viewing. The inverse is true (regardless of NLE being used) that using a typical GUI monitor for color correction will not give you proper broadcast levels.
If you want to do “monitoring” for your situation, then you can view the either the source/record monitor full screen and set the “full screen” setting to show “full range.’ If you have a two monitor set up via the graphics card, then you can leave one full screen all the time as your “client monitor” in this mode for your work.
Michael
Michael Phillips
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Once .sync clip is loaded in the source, turn of V track on source and do a match frame again.
Michael
Michael Phillips
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While Media Composer is a REC601/709 editing system, you can work with 0-255 levels within that color space. It’s just that you have to pay more attention to the steps inputting and outputting. Canon DSLR files are NTSC color space (why? I don’t know), but that aside, you can AMA to them directly and with the source settings indicate how you want “levels” to behave. You have three options: leave it alone, scale to video levels (16-235), scale to graphics levels (0-255). There is a histogram to work with and see what is going on in that particular shot. You can choose at the point where you want the full level range to fall. Edge to edge is 0-255 while the white bars indicate 16-235. In your case, let’s assume you choose to work with full range 0-255.
When color correcting and such, you don’t want to use any of the auto black/white as that assumes REC709 video levels and will raise blacks and scale whites that are in the 0-15 and 236-255 range. When you color correct, you can use the waveform vectorscope, and just work with the full range as a guide.
The important part is when exporting either a QuickTime reference or an embedded QuickTime – based on the above workflow, you would choose REC709 as export setting. What this really does is “do nothing” to the image as it assumes that you have worked correctly at REC709 all the time. If you select RGB, it will want to help you out and scale 16 to 0 and 235 to 255. If you had any detail in the 0-15 and 236-255 range, it would be lost.
Many people just work at 16-235 levels as that is their primary delivery format, but streaming formats can be done by selecting RGB on export allowing for dual output based on needs.
It would be nice for Media Composer to have a “web/graphics” mode for those who work for web and streaming only, but it does not. And then again, streaming takes on an interesting challenge if devices are set to stream to home television which is expecting REC709… usually there are modes like “cinema” and stuff which basically do a 16-235 to 0-255 level scale but in this scenario, you would lose those 0-15 and 235-255 details. Propoer color space and levels metadata would help, but that has always been the QuickTime player Achilles heel – trying to compensate for things when you didn’t need it to, or want to.
I would also suggest looking at the x.264 codec, it has been reported to be more stable in reflecting original color space and levels over H.264. It can be added as a codec from: https://en.wikipedia.org/wiki/X264
Michael
Michael Phillips
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Ah… you probably need to be in a matchback project. When you create a new project you can set it to be matchback. Just pick 35mm 4 perf (default). Even though you’re not using film, it does allow for other “benefits” such as multiformat timecode tracking, 1/4 frame resync, etc.
You should be able to create a new 720p/23.976 matchback project and open up your existing bins.
Michael
Michael Phillips
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That’s because NTSC and 720p are 30 frame timecode counts per SMPTE specifications. 23.976 within these formats is a “fabricated” frame rate within the 59.94 interlace or progressive formats. Also, the tape based legacy of these formats dictated how these formats got implemented and the ability to capture and output to those formats.
That being said, Media Composer was designed to handle both timecodes, as well as 25fps with a variety of pulldown counts. So while the project dictates the base rate based on SMPTE, you can highlight the entire START column and do a cmd-D or ctrl-D and select TC24 from the pop-up dialog. From there, the actual 24fps timecode will be calculated and you can now track both the 30 and 24 as needed. EDLs can be exported as 24, 25, 30, pulldown, no pulldown, 24 source, 30 record, and vice versa, etc.
Michael
Michael Phillips
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Just let me know if you have any questions. I get to telecommute to NOLA from Boston, so it depends on the workload, and which week(s) I am down there.
Michael
Michael Phillips