Michael Phillips
1
COW Coin
Forum Replies Created
-
Any questions on the product or workflows will be gladly answered in the Avid forum.
Michael
Michael Phillips
-
Export a QuickTime reference of the sequence and use Sorenson Squeeze to crop and encode for your final delivery needs.
Michael
Michael Phillips
-
At this point, there is no ability to add a TAPE to a file managed under AMA which puts the source file name in a column called “Source File”. Also, there is no scripting within Media Composer, but there is the ability to duplicate columns back and forth amongst each other. But that won’t help you in this scenario.
The only way to get TAPE as source from your file name, is to use the free application MetaCheater to create an ALE file from your QT sources. The ALE file can then be modified in a text editor as needed for number of characters desired in the TAPE column.
Import ALE first, then batch import sources into selected clip. You now have a TAPE source for the QT movies. Downside is that this method created duplicate media and the transcode is not as fast as an AMA transcode.
Michael
Michael Phillips
-
They are part of the trial, but need to purchased separately in addition to Media Composer.
Michael
Michael Phillips
-
ScriptSync is a different approach to audition, although it may share a lot of the same benefits. Of course, for starters, there needs to be a script. The first thing about it is that once takes are automatically aligned using phonetic indexing, you have an overview of the coverage associated with each line of dialog. You can directly click on the intersection of dialog and take and have it load at that point, or you can select a span of lines and takes and quickly review just that portion – useful when trying to find that one performance that delivers the story you want to tell. Since editing is about finding that performance in context of the story, that is the approach of ScriptSync. Once a selection of the take has been loaded and edited into the timeline (or edited directly from the script into the timeline), you always have a link. You can park on the event in the timeline, and do a “matchback” or what is called “Find Script” to take you back to the script, select the span of script in the timeline, and highlight the selected take. Now, again in context, you can review all other available takes.
There is a subset of the “loop play” function in each bin if you don’t have a script. With clips selected, from the bin’s “hamburger” menu, select “lop play” and this will load and play selected takes automatically between the IN-OUT marks. And like in ScriptSync, you can you use TAB and SHIFT-TAB to go back and forth.
The 5.5.2 trial you downloaded also includes trials for ScriptSync and PhraseFind. PhraseFind is for material for which you don’t have a script or transcript but allows you to find dialog based on user text entry when needed. Demos for PhraseFind are also available on avid.com.
Both ScriptSync and PhraseFind offer tremendous benefits to the editorial process bringing you closer to the material to quickly find the best take, shot, dialog, as needed to tell the story.
Michael
Michael Phillips
-
I think Marquis Software out of the UK makes a solution for just this workflow. Spelling and name of the company may be off a few letters… Google it up and see what comes up.
😉
Michael
Michael Phillips
-
Page 29, right before the Pro Tools Compatibility section.
Michael
Michael Phillips
-
Bob –
It’s actually in the READ ME file with the following:
The AJA drivers are not included
with the editing application.
Please visit the AJA web site for
the drivers.https://www.aja.com/support/io/io-express.php
Michael
Michael Phillips
-
Hi Hector;
Which is why I suggested AMA, although I realized to late that there was already an L&T done in FCP. That being said, what resolution/codec was done in FCP? Even AMA can slow down when pointing to lots and lots of media via the QuickTime AMA leading the user to render/transcode anyway. So there is a tipping point of when you want to transcode based on performance expectations of the editor and of the program (lots of layers and VFX for example).
If the decision is to trancode via AMA, then I would do so via the original files, and not the already L&T’d files from FCP.
Michael
Michael Phillips
-
Why not AMA to both sources, transcode to a flexible low data rate format for editorial, then relink back for final conform and mastering? All this can be done in Media Composer and you eliminate the quirkiness of QuickTime as the interim format between two NLE systems.
Michael
Michael Phillips