Michael Phillips
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COW Coin
Forum Replies Created
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Jeff is correct that ScriptSync is a very different value proposition than speech to text in Premiere Pro. As he notes, takes in ScriptSync are associated to the script, so in one view you have all associated coverage and have the ability to play selected ranges and takes as needed. Spans of dialog can be color coded for preference, etc. You can edit directly from the script based on span/line selected. Also, once in the timeline, you can link back to that take directly with “option-Find script” to see span and line highlighted so you can instantly see what other coverage exists.
The Nexidia engine, as amazing at it is, is only a subset of the reason ScriptSync is used. It eliminates the tedious process of syncing dailies to the script.
In Premiere Pro, a straight up speech to text will have very mixed results and will perform better if it has a script or transcript before the process (isn’t that what the feature is supposed to do in the first place???). From there, every take will have the script associated within the take. That is a very different value proposition when editing. While it is great for navigating within the clip, it misses the greater value of finding the best take for any given dialog. Will work for doc transcripts better because of this, but still is an issue of loading up that clip to see the text.
When I edit, I load up all my takes in ScriptSync, flip my monitor to be portrait, close all my bins, and have access to all my dailies as it relates to the script. Easy for my, the director and producer to understand at a glance, what is available to tell the story.
Michael
Michael Phillips
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There’s been a $995 crossgrade promotion since before Apple showed FCP X at NAB. There was also an event in LA this past week with sneak peek of features and functionality being “considered” for MC v6. Check links farther down in this forum.
Michael
Michael Phillips
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Why not download the Mac version and use it in a supported configuration?
Michael
Michael Phillips
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Exactly, check specs, etc. I am writing this as the latest version of Media Composer runs in the background on my 3 year old MacBook Pro.
Michael
Michael Phillips
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[Andrew Richards] “This is a larger problem than just ProRes. ProRes and DNxHD are both proprietary codecs, so they are not ideal for file-based mastering from a compatibility and risk perspective.”
DNxHD is not a proprietary codec. It was ratified several years ago by SMPTE as VC-3. Also, encode and decode QT codecs are available for both OS X and Windows operating systems. Source code for DNxHD is available for download on avid.com.
Michael
Michael Phillips
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MXF files always get their own unique naming… did you export an ALE of the batch session? It should include it in there, or it may already exist in the TAPE column once opened in MC.
Michael
Michael Phillips
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Sorry – shorthand for frame insertion. Let’s call it a “less than ideal 2:3 pulldown”…
Michael
Michael Phillips
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Media Composer is very versatile from creating web content to studio A level features. The first thing to do is download the 30 day free trial:
https://apps.avid.com/media-composer-trial/
Also, this page has some high level bullet points on MC advantages, and information on the crossover promotion:
https://www.avid.com/US/specialoffers/fcp-mc-promotion?intcmp=AV-HP-S2
Michael
Michael Phillips
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Are you on 5.x or 5.5.x? If so, bring files into project that matches your original file’s frame rate (23.976 or 24.000). When you open that bin in a 29.97 project, it will be covered with pulldown to be 29.97 at the same original duration (one minute stays one minute). A 23.976 source will have a true 2:3 pulldown applied, whereas a 24.000 will have 2:3 pulldown for most of the time, except a frame adjustment every 1000/1001 to compensate for the 24.00 -> 29.97.
Michael
Michael Phillips
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The script view is a view onto itself and does not share text entry with any other view, nor can you import/export into that view. It really is just for multiline comments.
Sorry –
Michael
Michael Phillips