Michael Phillips
1
COW Coin
Forum Replies Created
-
The first issue was that the settings were not correctly set in Resolve when making Avid media. You need to have a value in the REEL column before transcoding. That value will automatically be part of the TAPE column in Media Composer allowing you to change the clip’s name to your heart’s content without worrying about duplicating column, etc.
Have you created a bin view with all columns active? sometimes things show up in TapeID column depending on how media got created.
Once you write over a master clip in the bin, the info is lost and one recourse might be to go into the project Attic and pull out an earlier version of the bin before you lost that info.
Michael
-
This was a workflow for older versions of Media Composer that may work for you:
https://24p.com/wordpress/wp-content/uploads/2013/07/transcode-and-relink-across-projects-with-different-frame-rates.pdfMichael
-
Were the sources letterboxed or were they AMA linked and FrameFlex’d? What were the scaling set to in Resolve?
Michael
-
The Red Rocket card only benefited Media Composer when transcoding or rendering and debayer settings (now called scaling quality) was set to FULL. So it is easy to be in situations where you think it was not doing anything. Bad UI design for that functionality.
Michael
-
When you use the color info tool in MC and sample the white and gray, what RGB levels are they at? And once you know that, what setting are you using to export your timeline with? RGB or 709? If you select RGB, it will take the assumed video levels of your sequence (in 8 bit terms) 16-235 and scale them to 0-255. So what might have been 235 white in MC is now 255 and anything in that upper range will be gone. Try exporting at Rec709 which does not scale levels and see if that is any better for you.
Michael
-
The Artist IO encodes (signal based capture) in real time. Other than that, there is no acceleration happening for file based workflows. For RED, Media Composer can use the Rocket card, not for playback but for transcode/rendering. The latest RED AMA plug-in and MC release did (finally) provide support for RED R3D GPU Based debayer which will help performance (along with the cache) but none of that has anything to do with the Avid branded Blackmagic IO box.
Michael
-
You cannot batch import a sequence.
But you can AMA link to your sources and do a “relink to selected” to conform your sequence to the original files. Import and AMA link put the same metadata in the “Source File” column.
Michael
-
H.264 proxy is a very compressed format intended for Avid cloud based editing, but can be used locally to store a LOT of footage compared to the usual offline proxy of DNxHD 36. That is up to you to decide based on amount of storage available and image quality you want to edit with.
When done, you will conform sequence back to camera originals and transcode at a higher quality for finishing, or do that in a third party application like Resolve. Or, if you have enough storage, just transcode to a finishing quality up front like DNxHD 175x. Not knowing what your originals sources are, it is difficult to recommend which way to go. DNxHD at 24fps is 75GB for every 1 hour.
Source frame rate versus project frame rate is dependent on whether the sources match the project rate or not. If they do, then just choose project. But of they don’t. like 30fps source in a 24fps project you can keep that rate. The wording is a little confusing when they do match and you are not warned whether they match or not. So it is up to you to manage.
For audio, click the transcode options, but do not compress the audio as you may want to use that in your final. Just have it match the source or project. It will either be 16 bit/48kHz or 24bit/48kHz.
-
I would agree if eventually delivering to different channels. Keeping FFOP (first frame of picture) to 01:00:00:00 is your best bet for now.
Michael
-
Usually those things are part of the delivery spec – do you have one of those yet?
Michael