Michael Phillips
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COW Coin
Forum Replies Created
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You might be right at home with editing directly in Resolve as well. Everyone finds the best application that meets their needs. No right or wrong for personal taste – we see it in fashion all the time. 😉
Michael
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I had a typo in my previous response – I meant to say it will be just as challenging in Resolve, but you have more control. I do have to say that I like Resolve’s AutoColor better than the one in Media Composer. If you are just starting out – for each camera, stop on a frame of a similar subject, framing and exposure and try it out.
Results are not guaranteed as Shane points out, a lot of this has to start at the camera when shooting. I would do some searches on balancing cameras in the field – even shooting same camera models need some tweaking. Throw into the mix, different cameras (sensors), codecs, exposure (different cameras have different noise levels at different ASA), etc it will take some diligence to get it right, and needs to start right from capture.
Michael
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Resolve is a high end, very functional color correction solution that is free. There is a paid version (Resolve Studio) but for your formats and current level of experience, that will be more than enough.
https://www.blackmagicdesign.com/products/davinciresolve
You’ll be faced with same channels but with a lot more control and more to learn. I would read up on using the color chart as a starting point to see if that gets you closer to matching.
Michael
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It might be – I am not familiar as to how Premiere works for relinking to really be able to give you steps, but Resolve has certainly been used before as a Rosetta Stone to get timelines back and forth between various NLE’s. Give it a short test sequence and let us know.
Michael
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The fact that you transcoded to 1:1 doesn’t change the process of creating an AAF or EDL as either of those will reflect the original file name used to create the MXF media. Since you want to conform to camera originals, then it is a matter of just generating either the AAF and EDL and then it is up to Premiere to conform to the camera originals. As an example, with Resolve, you would add the camera originals to the Media Pool, import the AAF and choose “link to camera originals”.
Michael
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Certainly not free, but mentioned here for completeness; Drastic Technology’s Media Reactor AMA plug-in supports a lot of formats including VOB.
Michael
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I go it this time – I’ll let you know what I find.
Michael
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Thanks – I have not yet seen anything from that email account, but I’ve been having problems with email while traveling. I’ll keep checking.
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Or DaVinci Resolve.
Michael
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Not knowing the nature of the original file, but it seems that if everything was imported, you just need to delete media (not the clip) from the one problem clip and batch import the camera/sound original into it and everything will update.
Unless your sound guy is on a fairly old version of Pro Tools, I still question the need for OMF as AAF carries more info for them to use. I’m not saying this is the case here, but I have ran into many sound post folks who ask for OMF out of habit. Older version of Pro Tools were better optimized for OMF wrapped WAV files but that too is no longer the case and unless you set your project up that way to to start, you really have MXF wrapped PCM represented by AAF. You can always switch back to an SD project and remake your audio media to be WAV and export OMF…
Michael