Michael Phillips
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COW Coin
Forum Replies Created
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Anything else is related to monitor calibration and target color space which is new in later versions of Media Composer.
Color temperature tends to related to light sources (lights, sun, etc.) and how the imaging device (film or digital) captures that – it can be corrected on set during production with film stock, filters, or white balancing in the camera, as well as in post depending on how far off it is as well as exposure where grain or noise might become a factor. If you had a color meter you could track the overall color changes from morning to night.
Color Space is what we deal with in postproduction for a particular codec, monitor, color pipeline, and how color might be managed from acquisition to multiple deliveries. Check out ACES workflow for one such solution.
https://www.oscars.org/science-technology/sci-tech-projects/aces
Michael
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I reported a similar issue with 8.5 and it seems that there is a waveform drawing error and one of the zoom levels. For me it was when I was zoomed all the way in – for this very purpose, syncing. I believe there are three levels of cache depending on zoom level and one of them is wrong.
Michael
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It all starts with the dailies process and ensuring that there is a consistent method by which REEL ID is going to be defined. Some camera formats have an 8 character embedded (Red and Arri for example), while others let the user define it at time of shoot (Blackmagic Cinema cameras, etc.). Then you have to watch for cameras like the Canon 5D, Sony a7, etc that may start naming the files the same way when the camera shuts down for the day and you end up with duplicate file names. These need to be dealt with before dailies via a rename method.
One of the challenges is the amount of users who have access to a free Resolve to make “dailies” without really understanding everything that entails. Transcoding media is only part of the process.
Michael
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You are running into one of my bigger bitches with Avid and their lack of extracting embedded REEL ID from the .mov file (7 years counting with AMA). The embedded REEL ID is an 8 character version of the longer filename and was designed to support CMX EDL workflows that only allow up to 8 characters. Avid has long eliminated the restriction of standard CMX and can go up to 129.
But – other systems can easily work with both, and in this case, during the dailies process, embedded was chosen which is fine when going back to Resolve for a conform, but not good for a conform within Avid via AMA since it does not support embedded… GRRRRRR.
Would you happen to have the ALE files that were created in camera during the shoot for these dailies as part of the backup/archive? You can do an ALE merge to get that 8 character REEL into an Avid column so that you can do a relink. If not, you can generate an ALE from Resolve and merge it into your AMA linked files and do it that way.
If it is only a handful, you can do it by hand as you can see the pattern that is being used to create the 8 character version. Log that into either the Labroll or Camroll and use that column to relink.
Michael
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That is quite strange. If you can send me a sample file I can try it on my end and will send you one of my files that works out of Resolve just to check. If that works, use WeTransfer or similar to michael[at]24p[dot]com
Michael
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The big questions is when the DIT made the Avid dailies, what was assigned as REEL ID which then becomes TAPE in Media Composer. Display the column “Tape” and “Source File” in your bin. Open a bin with the master clips created by the DIT. One of those two columns will have a value in it which either reflects the embedded REEL of the Arri material or the filename itself. If the fields are blank or Tape shows MSMMOB. something, then the DIT did not create proper dailies bu not declaring REEL as part of the process.
Send screenshot of a bin with these two columns as we can better help.
Michael
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In the clips that won’t play, is audio included? I try to avoid audio in exports from Resolve -especially with AAF but there might be a related issue with MXF OP-1a. I have done 10 and 20 minutes as MXF OP1a out of Media Composer to encode via Adobe Media Encoder and have had no issues.
Coming out of Resolve, I typically do MXF OPatom (Avid native) and not 1a, but I have, from time to time, also done 1a for quick checks where I did not want to do go through the whole AvidMediaFiles dance.
MXF-OP1a has been supported for a while in Media Composer, and not just 8.5. Avid includes the MXF AMA plug-in which reads OP1a but you need to make sure you manually select the plug-in and never, never use Autodetect.
Michael
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Look a little further up – it is not a great layout of the resulting info.
Michael
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My assumption is CC is only supported by the data track in the HANC/VANC areas of the HD content. No support at all as you would find with line 21 for standard definition analog. .
Michael
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I don’t believe Avid does anything natively for 608 (Line 21 analog) captions.
Michael