Michael Phillips
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COW Coin
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The “x” denotes a 10 bit resolution. If your sources are 10 bit then you should – but most compressed format are 8 bit and will look fine as 145/120/115 for 1080.
BWF is a broadcast WAV file, the format recorded by audio field recorders like Sound Devices, Tascam, Deva, etc.
Michael
Michael Phillips
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Try a video and audio mixdown of the sequence to a DNxHD resolution and see it that fixes it. Also, as a test, put the sequence in its own bin, set bin display to show hidden files and see if any of the clips are still listed as non DNxHD in the format column.
Michael
Michael Phillips
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Save a bin view from one of the bins that has both creationdate and creation date columns. Then invoke that view from the other bins. The column should be there, but if there are no values it is because none were created during the ingest.
Michael
Michael Phillips
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The media is always both eyes within the frame. If you want one eye, you need to drop a DVE on the top track while showing both eyes to get to the one eye the way you want it in 2D – then output from there.
Michael
Michael Phillips
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Depending on codec, AMA allows you edit directly from the sources being referenced. AMA with transcode is near real time versus a 2x longer real time with Import. AMA also allows you to select spans of clips to transcode rather than the whole clip.
What you don’t get with AMA is control over gamma such as RGB or 601/709 as part of the process. Also, don’t AMA BWF audio clips – it will work, but QuickTime really messes up the timecode inside the file.
Michael
Michael Phillips
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Ah… After I hit send I wondered if there was a Unity thing involved and how you wanted to not only tracks sources but the project in which they are associated…
Have you considered starting the project on your main systems, then propagating that to all your MediaLog systems to then use that as the starting point?
I’ll look into the Tape length issue. I have done up to 32 characters with underscores and such when working with file based cameras like the SI2K, and certainly 16 characters when working with RED.
Let me see what I can find out.
Michael
Michael Phillips
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With frame rate mix & match in Media Composer since v4, your particular workflow is going to be more about project and tape management logistics and how you will finish.
Old School: harmonize all source tapes to a single format. SO take your 23.976 masters and cross convert to a 1080i format like the rest of your material. It will not have a 2:3 pulldown in it. EDL or only will reflect all the same type sources and a single deck can support it. If you have different source tapes, you may need different decks as some may not support 23.976 or need an option board etc.
New School: Capture all sources at their native rate in their respective project types (match frame rate) then edit all your material in the frame rare of your deliverable. Media Composer will frame rate convert on the fly in real time to that rate.
If working at finished resolution from the start, then in both cases there are no offline workflow considerations. If onlining on a separate system and using EDL’s, just be sure that system is aware of EDL with mix frame rates since MC can track that and whether it supports it. If onlining on same system or Symphony for example, then it is a matter of recapturing the sources used in the timeline in their respective project frame rates and it will relink.
Michael
Michael Phillips
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Your workaround is not use ALE? Why not just open the bin you created from MediaLog in your MC project? – I question the export/import of ALE in this workflow.
Michael
Michael Phillips
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If you really need uncompressed, then it is the animation codec.
Michael
Michael Phillips
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I’m a WAV guy – especially if the sources were already recorded as WAV…
Michael
Michael Phillips