Michael Phillips
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COW Coin
Forum Replies Created
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Change the format to NTSC, select resolution and transcode. Output to DVCAM with 2:3 pulldown during playout. Transcode to DV25 and you can do it over FireWire.
Michael
Michael Phillips
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When you import the EDL and correctly set the frame rate, do you see events in the EDL Manager window? From there, when hitting the arrow to the same frame rate project type, you will be prompted by a project type window. Correctly set that and then you will be asked what bin in which to put the sequence. Once imported, you should see the sequence and a master clip for every source tape used.
If you are creating an EDL from Avid then sending it right back, you may run into this. Make sure you save the EDL out to the desktop first, clear EDL Manager, then start the above process.
Michael
Michael Phillips
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I would get an SD monitor to do the final check. I have seen HD monitors display SD petty well and others that just look like crap. In theory, the decode from HD with SD down convert via deck should look better as it has gone to a rather compressed format like DNxHD 36 (which looks great, I agree).
But – how much worse or better is what will make your final decision. Export a TIFF file from the uncompressed SD for the same frame from both processes and compare the two… how much different do you see?
Michael
Michael Phillips
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If coming in HD-SDI, Media Composer with a Mojo DX will do it for you.
Michael
Michael Phillips
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Switch the project tab to SD, transcode to resolution of your choice.
Michael
Michael Phillips
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Avid products do not support XML as an import process. If you want better conform process than EDL’s then Automatic Duck is the way to go.
Michael
Michael Phillips
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If you are in standard definition, you are not really changing resolution, but aspect ratio. Right click in the source/record monitor and select 16:9 – this will properly display the 16:9 anamorphic material.
Michael
Michael Phillips
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If it is just the XL2, then perhaps the setting was wrong for 23.976 capture. Try recapturing one of the source clips with proper settings in the Film/24p settings such as pulldown cadence, “A” frame etc.
Michael
Michael Phillips
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When you hit play, the outout is 25i. The only difference is all effects are processed on frame boundaries (to match the content), so it will be done on 1/25th instead of 1/50th. That is a subjective call on your end if that is what you want.
Later versions of MC allow progressive to be worked in interlace as long as the frame rate is the same, so you are all set with PAL at 25fps. Create a 25i project, open bins from other project. Ignore warning message and move on.
Michael
Michael Phillips
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OMF retains the original MOB ID and other indentifiers which allows things like automatic relink etc. to work. If you want this to be a brand new clip, export from sound system as WAV or BWAV to have timecode.
Michael
Michael Phillips