Michael Phillips
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COW Coin
Forum Replies Created
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Yes, that is what I am referring to. That is the cause of lack of source clip name in the TAPE field which is where anything will be defined coming from Resolve and there is no value in the REEL column. With that being said, it seems that something has to have changed.
1. Has the source camera type changed?
2. Have you changed how you are bringing these files into Media Composer?
2a. How are the master clips being created?
3. Do you have a screenshot of how it looks in Resolve before transcoding?
4. Is the DIT/Data Wrangler creating a sequence from the clips or transcoding directly from the Media Pool?Your method of creating master clips in your original post is the way I recommend. So to me, it seems that something has changed upstream in how the MXF files are being created.
Michael
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One of the most common mistakes when using Resolve to create native DNxHD dailies. The REEL column is left blank in Resolve and needs to be correctly set first with “assist conform: in settings to be “clip file name”. In some cases, you also need to make a timeline first, then create individual clips from there to have both the TAPE field and timecode to be correct.
Michael
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Lots of follow on thoughts and questions.
If working offline first, then you are most likely creating DNxHD offline (36) that is 2.39 letterboxed media in something like Resolve or other. Make sure to properly set up REEL, etc. so that you can have a pain free post process wherever you decide to finish.
I find it limiting to be finishing a RAW source format in Symphony as it cannot take advantage of the source parameters like you would in a dedicated color correction system like Resolve, Baselight, etc. Also, limiting yourself to a letterboxed 1080 master in Symphony when trying to protect for a 2K DCP theatrical should that happen is not taking advantage of the available pixels and introducing unneeded scaling. What version of MC/Symphony are you using? Can you not create a proper DCI 2K for 2:39 and work from that? Master as that, and then create your letterboxed 1080 deliverables from that.
Color space considerations when mastering – are you working in P3 then delivering as needed? Or are you working in Rec 709 and creating a DCP from that?
Who is the colorist on this and what is their recommended practice?
Michael
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Where and how do you eventually want to finish and at what resolution?
Michael
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The FIle_32 is the edited version of the CMX360 which allows for 999,999 events, “Tape” names up to 32 characters in length. Can you split your sequence up to V and A only to see if it reduces the number of events?
Michael
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A sort-of solution is creating a text file and dropping all your clips as though you were going to do script based editing. Then select the entire line(s) and clips and they will play through and go to the next. You can tab to go to next or shift-tab to reverse and it will keep playing.
The same can be done with selecting clips in the bin and selecting “loop play” in bin menu and the same tab behavior exists.
Michael
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Oh… I thought the actual image was red, not the events in the timeline… What Shane said.
☺
Michael
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You most likely would have transcoded then anyway once linked due to performance (if you did link using AMA MediaReactor for $99). So doing it in Resolve is the same process.
Michael
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The only value of the perpetual license is that you have ownership of a license once you stop the support even if stuck at whatever version it was last updated to. But I do agree that there was a “mostly-forced” upgrade for all perpetual license owners by the end of 2015 as a way for Avid to back and get more revenue from their existing long time users. Basically, pay for the $299 upgrade whether you feel there is value there or not, or sometime after 12 months if you do feel there is value, you need to buy it all over again and any investment in Avid MC over 12 months has no value. Unlike Pro Tools which has a rich third party development and Avid Marketplace, MC cannot be the catalyst of additional revenue from the Marketplace via a revenue share strategy.
And there is a penalty against dongle owners that may have left it lapse as for whatever reason (not technical), existing dongles cannot be updated if past the 12 month plan. You either go to subscription or pay an additional $500 for a new dongle. At the time, owners of ScriptSync and PhraseFind were in a pickle and it was only revealed recently that there would be amnesty for those license owners. But at the time, it was a “Sophie’s Choice”.
The same “new” applies to subscription only… if you let whatever plan expire you can’t just pick up again but need to get a new MC with its subscription as the old one associated with your account is no longer valid. That is very confusing to users and one has to say that the Application Manager does no favors in making any of this easy.
Sometimes I think a side effect, intentional or not, is that this new method helps with the “number of seats” on quarterly earning calls. For example, if a single subscriber rents every other month for one month each time, that single user can be counted as “6” when the CEO touts the number of subscriptions per quarter since there is no further distinction of type of subscriber, or currently “active” number of licenses.
And yes, I also agree that as a professional, the $299/year should not be a limiting factor. Avid’s challenge for revenue growth is to go beyond it current “pro” market with offerings in order to increase seat count, which then attracts third party developers, which then supports a Marketplace strategy, etc.
My two cents as a “pro” user and a very small third party developer. ☺
Michael
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When using an IO card of any type, Media Composer send all IO to the card, video and audio. It does not offer the ability to split one to one output and another to something different.
Michael