Michael Phillips
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COW Coin
Forum Replies Created
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I answered this on the Avid forum. Work in a 30i matchback project and then go to:
https://www.24p.com/matchback_EDL.htm
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You can also import BWF files for the audio as that is becoming more common and is 12x faster than capturing from analog or digital sources in real time. There are timecoded 2 track BWF recorders that start at US$999 which are great in replacing the two track DAT format.
Michael
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There could be an issue with the import. Is there audio with the AVI or just picture. Try sequential TIFF files and see if there is an frame doubling issue there.
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Why isn’t viewable? What project type? WHat version?
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These are just color spaces and as long as you manage them correctly there will be no difference in quality. Exporting as 709 keeps the SMPTE digital standard of BLACK at 16 RGB and WHITE at 2235RGB. When selecting RGB, BLACK becomes 0 RGB and WHITE is 255.
Depending on how renders are done in After Effects, you will want to manage your color space accordingly when coming back in so that level match when intercutting back into the program.
Michael
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Try the FLuidMotion preset for interlace to progressive to create 25p. Then use a variety of filters and color correction to make it look more like film.
See some of the related articles on my resurce page at http://www.24p.com
Michael
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The same workflow will work just fine on Adrenaline – if you are happy with the look then that’s what counts. SDI will be easier since you won’t have to deal with levels and such on capture.
Michael
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You can hire Oliver or myseld to host an evening… or user group, etc. And 24p.com is my site… 😉
Michael
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Oliver is correct – there are several advantages to working in native 23.976. ADVANCED was meant for easy removal of pulldown over FireWire. But Avid systems can remove both ADVANCED and NORMAL over FireWire if needed (Xpress Pro 5.1 and later) as well as over SDI to any resolution on Adrenaline. Avid does not need the flags to remove ADVANCED or NORMAL (in case they are missing from a dub etc.) and can pick up on any cadence on any timecode. No other system can offer this type of flexibility to cover any issue or problem that might occur before the tapes make into editorial… Yes Virginia, it is not a perfect world (I was feeling a little seasonal with the last remark). It’s called CYA design and implementation… (cover your ass).
Either ADVANCED or NORMAL can go back to film if the pulldown is removed. Once pulldown is removed, there is no difference at all in the resulting media – it is just 23.976 frames per second.
I would argue that if you are planning on mixing footage with 30i material in a 30i project that NORMAL is a better format to shoot since its cadence is more evenly distributed over the 60 fields. I like to use the Morse Code approach –
2:3:2:3 is SHORT | L O N G | SHORT | L O N G | SHORT | L O N G
2:3:3:2 is SHORT | L O N G | L O N G | SHORT | SHORT | L O N GThe pairing of SHORT and LONG in the ADVANCED cadence is more visible to the eye than NORMAL.
So yes, Pixel Monkey, I think you got your facts reversed.
Michael
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Use the Modify timecode before capturing to “add” 180 frames to the head and tail. Or whatever number of frames you want to preserve for your preroll. Then batch capture. You can do this across multiply selected clips.
If the production was shooting single camera with on board audio then there was no real reason to shoot time of day. If there were multiple cameras, double system sound without a ClockIt type device, then time of day is the way to go.
Michael