Michael Phillips
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COW Coin
Forum Replies Created
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Yes, it’s a shame that they removed Avid Log Exchange without replacing all its functionality. Something I’ve blogged about in the past.
When checking ALE’s, I use Textwrangler (or similar functionality) that allows me to see invisible characters in the file. The biggest problem when coming from Excel is additional TABs when there should only be one, and no carriage return after the last event. If you open an ALE you just exported for reference you can quickly see the differences.
Michael
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There’s a column you can add to the bin called Lab roll. It can be used to relink sources and identfy sources in an EDL. Depending on version of Media Composer, right click on column headings in bin and choose “choose column”.
Michael
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Whatever column as the source file name you describe (Source File?), highlight and duplicate it to the Lab roll column. Edit out the extra stuff from the names. If there are a lot of clips you can batch process in a text editor:
Exports master clips as an ALE file with Start, End, (Tape or Source File) and Lab Roll.
In a Text editor, edit out the extra stuff at the end of the name in the Lab Roll column.
Merge ALE back in.Link to original camera files and highlight them
Highlight sequence
Right Click sequence and select “Relink”
Use relink to selected
Set up to have Lab Roll on source clips and “Tape/Source File” on sequence
Click OKMichael
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The workflow is pretty straightforward – the ALE is imported like any ALE but includes CDL values. The same CDL values indicate the color choices as to what was baked in or what needs to be applied as an effect on the source. It depends on whether you apply the values or not as a source effect in source settings. If baked in, you don’t want them applied (turn off automatic in color settings) or you will double apply. If dailies are “log” then turning them on via auto or applied in source settings will apply them as part of the real-time play.
Note that is counts as a real time effect so a somewhat beefier system will be needed the more complex the sequence becomes. There also may still be some limitations with some multicamera mode, but that may be LUT only.
Michael
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When looking at your media in Resolve’s Media Pool, what is listed for REEL? Whatever is there is what ends up in TAPE for native Avid media.
Michael
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It may be that the AAF export from Premiere is mixing down or channels are not selected when exporting? I would look to the Premiere export settings first to make sure those are correct.
Michael
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The issue I have with syncing in other applications, and Resolve handles just a wee bit better than PPro, but still not great, is the fact that once synced, there is no source reference to audio for a downstream conform should you ever need to go back. It sees everything as the same source as the video.
Because of this, it make the audio relink process difficult at best.
Michael
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Sounds like you’re just making dailies using Premiere to prep and sync. If it’s for that purpose only, I would suggest using Resolve which has a similar waveform sync in it, but it better suited for a dailies workflow.
Michael
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It’s probably one of those given Parameter X: (A1=A2) and (B1=B2), then X = ?? , Same for Parameter Y, type thing. But that kind of math is not my forte.
Michael
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Unfortunately, there does not seem to be any easy correlation between the two as 3D allows for smaller and larger whereas FrameFlex uses “smaller” in the sense that it is extracting from a bigger image. Also, the full left and right slider numbers don’t use the same scale. It would have been nice for Avid to allow a 3D Warp to be converted to FrameFlex under these conditions as I am sure it can be calculated by some relationship somewhere.
Michael