Michael Phillips
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COW Coin
Forum Replies Created
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Did you use the FIND function in 5.5 to quickly identify these clips? Too bad you can only open up in their bin or load each clip – but it does make getting to the faster.
I/m not quite sure how you would use an ALE – that works well for creating master clips, or merging information in an existing master clips, creating subclips from existing master clips etc. But it seems to want to work with sequences – and that is EDL or AAF territory.
Michael
Michael Phillips
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Good to hear that Majax can create the new mix track from ISO’s. I was working on the 22 step workaround within Avid… Good luck with the project!
Michael
Michael Phillips
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AMA performance is something that is variable depending on the codec being used. R3D is not the most efficient – and you are running into some of the limitations when doing more than one simultaneous stream… that being said, your renders are doing two things since nothing but the camera can create new R3D files – it is transcoding to the codec you have set in your render settings. And most likely, the default F3D debayer is set to FULL which can take its time. I would set that to 1/2 premium or 1/2 good. If just doing offline at DNxHD 36, then 1/4 is still very usable.
Michael Phillips
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Passing audio through, and using Resolve for dailies with double system audio are two different proposals, with one requiring more dedicated audio development work over the other.
I use Resolve for dailies when production is using double system, then sync in the NLE to ensure full metadata retention of the BWF files as well as choice to sync with mix track, versus ISO tracks, etc. Also, just pointing to a folder of BWF files and hoping that the timecode matches up perfectly is not going to work all the time – I have synced thousands of hours of dailies over the past 20 years to see that the true sync of picture and sound will have different timecode values when comparing picture, audio and slate timecodes. So the system would need the ability to have sync correction and metadata offset management to truly be a syncing system for dailies.
Single system, pass through is more straightforward – sync is assumed by virtue of being recorded by the same device at the same time and metadata is really picture metadata with audio coming along for the ride.
Scratch track recording on picture in double system workflows present its own set of challenges as to what the common metadata relationship is between the scratch track (using picture metadata as stated) and what is being recorded by the dedicated audio device other than shoot date and time of day. I see some promise with devices like the PIX 240 from Sound Devices that records from the HD-SDI or HDMI and in some cases grabs the file based metadata over the signal being recorded – such as filename (think R3D files for example). Even if not recording proxy picture, naming the BWF files the same way or inserting that metadata into the iXML of BEXT chunk can only help when it comes time to conform and or sync in dailies process and perhaps we will see this metadata pipe for audio only recording being implemented in future versions of audio recording devices.
But to force what has been a conform color correction system at the end of the process up front and to “just work” for the demands of dailies is not going to happen overnight. What Blackmagic decides to do with new and additional functionality in the future will be interesting as file-based post workflows are constantly changing. But to also see where companies like Sound Devices, Cinedeck, etc. go is just as important in the overall workflow solution.
Michael
Michael Phillips
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Have you tried changing font to see if that jiggers something? Very strange…
Michael Phillips
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I think the Pix is a great little product – certainly the codecs being used for recording are designed for post production. And the codecs are better than what you will find with a Canon 5D for example. Like “most” other codecs, DNxHD 145 and 175 for example are REC 709 codecs, so no RGB if that is a requirement. Perhaps PIX will update to support the new DNxHD 444 codec.
Once you get into higher date rate MPEG type codecs versus I frame codecs like DNxHD and ProRes – the trade-offs are more about recording time on disc versus generational quality of the codec, versus performance, etc. And that is a decision the production will make as part of the overall workflow decision.
I have always used Sound Devices products on my feature shoots for audio – the quality is excellent. I have yet to use the PIX directly but have seen DNxHD sample files. Other choices are the Cinedeck and I believe Blackmagic just announced DNxHD support in their field SSD recorder.
There are SSD docks that connect USB 3 for fast copy speed as long as the workstation/laptop supports that. Haven’t done much digging for other connection types.
Michael
Michael Phillips
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Hi Job –
Yeah… I was grasping for something as a solution and theorized on that one. An “AutoSequence” would preserve the timecode, but everything else would go away – I was thinking that the “sequence” would still point to its sources. This would be a great feature for application like Wave Agent and the like. Or dare I say. Avid? 😉
But for now, it is something that needs to be delivered by production. I just did the workaround of workarounds for a production where there was broken playback timecode on the LTC and the requirements was to have burn-in of the LTC on the source sync clips from file based sources. I’m sure you’ll figure it out with some extra thought. Actually some of those steps might work in this scenario. I just need to test them.
Hope you’re well.
Michael
Michael Phillips
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How about taking each take, make a sequence, do a mix down to the next available track, then go the sequence in the bin, select it, and AutoSync the seqeunce. That will make a subclip. Then AutoSync per my first posting with video using track 5 as the track to keep.
Michael
Michael Phillips
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Yikes! That’s a different issue… Is the boom mike good enough to pretend to be the mix track?
Michael
Michael Phillips
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Are these monophonic (1 file for each track) or polyphonic (multple tracks in one file)?
Starting with v5, after you import the BWF files and using AutoSync, you can choose which track(s) you want to keep from the BWF file when creating the .sync subclip. For example, if your BWF is 8 tracks and the mix is on tracks 1 and 2, then in the AutoSync window, select keep tracks form range 1 – 2. The resulting clip will sync and extract those tracks in a single operation.
Michael
Michael Phillips