Michael Phillips
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COW Coin
Forum Replies Created
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Ugh…. I think we established these were not 24.000 fps, correct? And when you link, can you see the media when you load a clip or do you get the same error message?
Michael
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In reference to the full detail, I would recommend you do use FULL. Other than RED R3D media, anything less than FULL does create small jaggies on other formats and the transcode times are barely any different. So no advantage.
Michael
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Typically conform is done via values found in TAPE or SOURCE FILE coming from Avid. This is what Resolve will look to first and have it match what is defined in REEL. the .new01 is because they consolidated the sequence before sending out and the clips get the appendix. Are you conforming to camera originals or Avid MXF media?
Michael
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Also, NEVER use Autodetect. Select each AMA plug-in manually when testing them, this is especially true with MXF wrapped formats.
Michael
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The OP1a MXF gets installed natively with each version of Media Composer. The one on the AMA page refers to versions prior to v6.5. v6.5 was released in September 2012. Avid should really remove the MXF from the main landing page as it is misleading so many years later.
That being said, I was helping someone from Facebook with a similar issue where I could see the files via XMF AMA and she couldn’t. I believe she ended up updating to latest release of MC 8.4.x.
Michael
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Sure, getting a bigger drive may work for some and not for other if they are working on a laptop, etc. It is a reasonable request that Media Composer allow you to place the Attic, AMA links, waveforms, and such to a different drive. It is possible to do so with Search Data Folder, just extend that to other similar cached items.
One thing to try if you’re doing a lot of AMA and seeing some performance issue is turning off AMA management:
https://avid.force.com/pkb/articles/en_US/How_To/How-to-disable-AMA-Managed-Media-to-increase-performanceThat was one of those features added to a previous release with no real explanation anywhere as to what that meant and come to find out it was to help Interplay type scenarios… so at least get some performance back.
🙂
Michael
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I think you meant to say Sony Fs7 and not Canon?
Here is a link on Fs7 versus sC300 – It seems that the Sony is either HD or UHD 4K and does not shoot 2K – Either way, you will be AMA linking to the camera originals and doing a transcode. “IF” they are shooting 4K on the Sony, then you have lots of reframing potential. If you are on 8.x you can choose to transcode to DNxHR and keep original resoluton.
Will they be shooting LOG and you apply LUT or will you color correct original LOG images?
Michael
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The other questions is of LUTs were applied, did they come along with the project if the project was moved? Check the LUT folder in the project folder.
Michael
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If you bring up the COlor Transform column in your bin and look at the source clips, do you see any values listed? Bring up a master clip and go to source settings and see if one is applied and active. If so, then you can try removing it or not enabling it, refresh sequence and try your trim again.
Michael
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As I mentioned in previous post, you can start by using the one that comes with Avid via the Paint Effect to see if gives you anything pleasing. After Effects is usually a QT roundtrip workflow, Boris is integrated as an AVX effect if you have that available.
Michael