Michael Phillips
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COW Coin
Forum Replies Created
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It is possible as long as you are willing to stay on a supported OS. It is $1,299. Buy it, it comes with whatever updates in the next 12 months, then that will be the version it stays at.
Michael
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The mix and match may just be doing a blended frame which would end up looking like that. You should be able to change motion effect type to something that does not do that.
Michael
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How was the file created in the first place? And why the need for OMF? OMF has been replaced by AAF. What are you trying to achieve?
Michael
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You can only load a sequence into the source monitor by dragging it in, not double clicking. And you can’t edit a sequence into itself. It needs to be a new, duplicate, or another sequence. Also watch for mono tracks, stereo tracks etc. if they are not the same tracks.
Michael
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There’s no controlling that pop-up menu. There have also been requests in the past about populating those menus ahead of time so that loggers would would be consistent in spelling and such for searches downstream. There used to be a function where you could ALT tab past a column and it would inherit the value from the clip below it. That doesn’t seem to work any more.
Michael
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One of the first things to check is invisible characters. On a Mac, I use TextWrangler. When exporting out of Excel there tends to be more TAB characters after the last item on a line versus a carriage return.
Michael
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Sure – email me the Excel file. What project type are you trying to get this into? What info has Avid given you so far?
send to michael[at]24p[dot]com
Michael
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Buying it is the only way you will keep a functioning version of the application should you choose to stop paying for upgrade support which is $299/year after the first 12 months (really 13 as you have a month grace period). If after that time period you choose not to upgrade you can keep running your system for as long as the operating system, etc. are supported. I have one system that run on Win 7 and has been that way for many years. Apple on the other hand updates quite frequently and changes things that tend to force you to move to newer versions of MC just to run.
If got some reason you let your support contract lapse and it is after the 12 months + 1 month grace period, then you have to buy another license. There is no updating your existing license so now you have two of them.
Only in the perpetual license case do you have the option to buy a dongle rather than use software licensing. I believe that is an additional one time cost of $500.
Anything else is a month to month with discounts for yearly commits.
If you just want to learn it for resume type listing, then, as suggested, you’re probably better off with the 30 day free trial and a monthly.
Michael
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Thanks Scott for the detailed response. I will just add two a few points of precision. There is a difference between MXF OPAtom and MXF OPAtom 1a.
MXF OPAtom exports one file for every essence track in the file. If the input clip is VA1A2, then you will have three separate MXF files (this is also dependent on your export settings on the deliver page whether audio is being exported or not.
MXF OPAtom1a is a single MXF file with all tracks included. Most cameras, if not all, that record MXF use 1a.
Supported Worklow:
Avid MediaFiles folder structure only supports OPAtom
Avid’s AMA MSP_MXF Plug-in supports OPAtom1aNot supported:
You cannot put OPAtom1a files into the Avid MediaFiles folder structure
You cannot link to OPAtom files via the AMA MSP_MXF Plug-inIf for whatever reason media did get ingested this way, then there could be issues with the metadata. But usually Media Composer kicks up an error message saying not supported or being quarantined.
When creating Avid ready media via any of these methods you need to know that:
Media Composer gets REEL info from OPAtom files via the TAPE field embedded in the MXF files. This is done by correctly setting assist conform settings in Resolve to whatever the method is going to be. The user can see in the REEL column in Resolve what that is going to be. It should not be empty. Or if it does have a value, is it the one that you want to use? Formats like RED, Arri, DNG, etc. carry an embedded REEL that is not necessarily the same as the file name. It is usually an 8 character version of the filename to support legacy 8 character limitations in CMX EDLs. When you see a Tape name like I saw in a previous screen capture of MMSMOB.01, etc. it is because REEL was not properly set during the transcode process. For most workflows these days, selecting “use clip file name” will never steer you wrong in an Avid based workflow.
If exporting MXF OPAtom1a files, then the AMA uses the actual name of the file as seen at the OS level. So this naming is important for roundtrip conform and is done on the Deliver page in Resolve in the section for naming.”Source Name” is what you want as well as ensuring the individual clips is selected, and not timeline at the top of the page. When AMA linking, Media Composer uses the file name in Source File column for tracking, relinking, EDL’s, AAF and conform processes.
In keeping the above in mind, and having created hundreds of hours of dailies using both MXFOPatom and MXF OPatom1a, I have never had a timecode discrepancy. Not saying it can’t happen, but I have never come across one. The issues I see on these forums, other forums, and direct contact has been not properly selecting how REEL was going to be defined and settling on OPAtom or OPAtom1a.
I have recently come across one issue using MXF OPAtom1a with DNxHR – not a timecode issue, but a codec issue. DNxHR is a resolution independent codec allowing it to scale from SD to 8K if needed. I was exporting OPatom1a 1920×1080 as DNxHR SQ and it would not play in Media Composer – it gets a decode error. The very same file will play fine in Premiere Pro, Resolve, Media Encoder, VLC, etc. Making a 1920×1080 OPAtom DNxHR played back fine. Making a 4K UHD OPatom1a file decoded and played fine.
Long time requests for Avid, and I mean loooong:
1. Allow users to drag and drop OPAtom files directly into a bin and prompt user to copy/move to Avid MediaFiles folder directory.
2. Allow QT and MXF AMA plug-in to support embedded REEL metadata and track it in a column of my choosing.Other tidbits – Resolve also embeds project name into the MXF OPAtom files whereas that field used to be blank. So if you were using MediaTool to find media for a given project you would not know (Avid DMF still has this problem). I believe that starting with Resolve 12 whatever the project name is in Resolve will be the project name in the file, so if that is important, make sure that is declared up front in the process.
Scott and I have had this conversation, I am a fan of redundant metadata – I often duplicate columns into other columns. For example, when importing BWF, I will duplicate the TapeID column into the SoundRoll column because TapeID carries the actual filename. If BWF was recorded with a TAPE name then that would appear in the Tape column. But this way I have both, and EDL manage does not support TapeID as source but does for SoundRoll. I also duplicate the START TC into the SoundTC for redundancy purposes as SoundTC has a defined frame rate whereas AuxTC can change based on the project type it is in.
Michael
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Does it have common timecode? If so, try grouping the elements rather than syncing. You can use the group clip as source, or create a sequence from the now grouped clip, commit multicam, then AutoSync the sequence to make a new subclip. You may need to tweak the sequence a bit as mentioned in this blog:
https://24p.com/wordpress/?p=280
Some of the steps described should get you on your way.
Michael