Michael Phillips
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COW Coin
Forum Replies Created
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You can try this one:
https://service.autodcp.com/They have a free watermarked process you can test for yourself.
Michael
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What types of drives, size and connection to the ZBook will you have? USB 3?
- Have you tested drive speed?
- How many streams of video do you need (complex timeline or not with layers?
- Multicam?
- Are you planning on using the DNxHR 444 for final conform and color, or are you going back to the R3D’s when done?
- Are these UHD or other resolution?
- Will you be editing in 1/4 proxy once project is created?
- Are these double system audio How many audio tracks?
- Will there be LUTs applied to the DNxHR or will color baked in?
Michael
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What are you using as a “proper tape name”? How will this be used downstream? If for conform, the actual filename of the asset is what will be used and is already available in the Source File column. I for one never recommend adding a TAPE to an AMA linked file as those are treated differently within Media Composer MOB type stuff, not to mention it’s a pain in the ass to do. The only time I have seen both Tape and Source File is with BWF audio import when a “tape” has been assigned in the iXML/bEXT chunk of the file. But in this scenario, Media Composer is handling it upon import/linking.
The issue with cameras that do not record timecode is as you say, all clips start at 00:00:00:00. What makes a clip unique in Media composer is:
Both Source File and Timecode
or
Both Tape and TimecodeOr more simply put, a unique REEL ID. Then it does not matter what the timecode is as that will be used for proper frame identification, not the file itself. I conformed 148 VFX events in Resolve coming from MC where all the timecodes started at 00:00:00:00 but since each VFX filename was unique, there were no issues.
Where this does become a problem is some cameras like to start renaming their files the same way after a camera shut down or battery replacement. Then you will have both duplicate file names and timecode. This is the ONLY time I consider changing the file name before ANY process starts, backup, archive, editorial, etc. I will use a file renaming utility and add a date stamp and other unique identifier to the file name. This is for formats that do not use a card structure and XML sidecar files, but standalone clip files.
My preferences if adding additional REEL (tape) to clips, I will add to the Labroll or Camroll columns as I can generate an EDL with this sources if needed. It does not mean TapeID and Labroll/Camroll are mutually elusive, but additive for list generation.
Sequences can be relinked to source clips via “relink to seleted” based on most ANY column available in the bin, even custom columns as well as AuxTC columns if needed.
My two or three cents.
Michael
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If it is just basic editing, I don’t think you will take advantage of everything Media Composer has to offer which is metadata, large media management, multiple editors, send to Pro Tools for audio, etc.
I would suggest downloading the trial version and seeing for yourself. 8.6 introduced the Source Browser which will be closer to what PPro gives you for accessing the footage the in first place. Depending on camera sources, you will need to download AMA plug-in beforehand before you can access the footage. Once all that is in place, editing and trimming is where Media Composer has a lot of fans.
Performance may be an issue, again depending on camera sources. PPro uses the GPU for a lot of processing – you may find yourself transcoding to Avid DNx codec to have a smooth experience. There’s no hard and fast rule as to when you will need to do that.
Media Composer is a great tool, but considering your needs, I would also look at Resolve as an editor. It may have just enough for what you are looking to do.
Michael
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You add motion blur via different plug-in or motion effects. In this case you don’t want to change speed, just how the content motion looks. One example: https://revisionfx.com/products/rsmb/
Michael
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Make sure there are no / or other illegal characters in any of the folder or file names.
Are you sure it is AVCHD or XAVC-S? If the latter, there is no Avid or Sony support for it directly via AMA in Media Composer. You need to either get a $99 plug-in from Drastic Technology (MediaReactor) or prepare the files before hand with EditReady or use Resolve, Adobe Media Encoder etc. to transcode to an Avid supported codec.Michael
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Without actually seeing it , it is hard to say what you are trying to fix. Is it a stabilization issue? Or a frame rate capture issue where shutter speed versus frame rate might be giving it a choppy look?
Michael
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It may be an issue of AMA audio linking and the check in process. Personally I import all audio all the time as I need to 1/4 frame sync which linking/consolidation/transcode does not allow, but that may not be a need in your case.
Michael
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No need for an ALE. Create a project type that matches the XY of the sources you are conforming. Dupilcate the portion of the sequence you want to conform as 4K. AMA link all your camera originals, etc. Highlight the sequence and the camera originals, right click the sequence and select “relink” and do a “relink to selected”. You may need to fidget with settings in there to make sure it works, but it will.
From there, remove any color correction, LUTs or the like (check with whomever is doing the color) and export as DPX. The timecode in the DPX will match the sequence timecode.
Michael