Michael Phillips
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COW Coin
Forum Replies Created
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Are you deleting your search cache in the project folder? Are you on shared storage? Deleting the Avid MediaFile databases in this scenario will not do anything.
Michael
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Do you want the freedom to reframe while accessing the higher than HD deliverable since you are shooting 4K?
What kind of grading process is this going to go through? Grading is more than the applying of a LUT as you have to balance shots between each other, etc. The easiest B&W method is to remove all saturation. This can be done with a LUT or using ASC CDL as I describe in my blog: https://24p.com/wordpress/?p=43
In this scenario, I would AMA link to the R3D files directly and you will be able to tell what the frame rate is for each clip in the bin with one or two of the column headings displayed (not in front of a system right now). The fps is displayed along with format, etc.
With RED, you can certainly apply a LUT in addition to using the RAW color parameters and changing the RMD to reflect the image you want to work with. Then when linking in Media Composer, apply the RMD on all the source clips. From there you can transcode when needed. Since you are in 8.3.x you should be able to transcode to DNxHR maintaining the higher 4K image to be able to reframe as needed in your 1080 project using FrameFlex.
Once complete, you can transcode final sequence to DNxHD 175x and deliver same as source to an encoder that will make your final streaming deliverables.
In this scenario, audio is going along for the ride on input – output will be whatever tracks your create for the soundtrack and what the deliverabale requires.
Michael
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You most likely shot 29.97fps interlace which is 1080i. PsF is only a means of transport for progressive material and is handled as progressive within the NLE.
Michael
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Did Avid support ever correct themselves and say that Resolve MXF is not supported? Thee may be user error in different workflows, but both MXF OPAtom and MXP OPAtom 1a work fine in MC if done correctly.
Michael
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You can select all the R3D files and do the same thing – make sure to click “apply all” at the bottom.
Michael
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I agree that R3D support in MC is lagging despite these issues being brought up with them on several occasions.
That being said, on your AMA linked files, go to source settings, the RED parameters and select custom then reselect RMD. It should reflect changes in the image although there is a bug that does not reflect the changes properly in the GUI… grrrrr
Michael
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No countdown from Avid. You’ll have to find one of those online somewhere. I use Job ter Burg’s excellent countdown, but it’s for 23.976/24 project types: https://leaders.terburg.com/
There is a broadcast version you might be able to modify for 29.97fps
Michael
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You can import bars from the Avid Supporting files folder (choose 601/709 when importing) and you can create tone from the audio meter on the timeline bar (right click).
Michael
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There is something to be said for simplicity.
Michael
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I should be a little clearer – DNxHR is available to some apps like Resolve, MTI Cortex and most likely Colorfront, etc. What I was referring to is that the ability to make 1/4 frame proxy versions of those DNxHR codecs is not possible. So depending on project resolution will be up to 4x the storage requirements unless you choose to transcode again in Media Composer to 1/4 proxy but now you need more storage to do that as well. Just things to keep in mind.
Coming out of Avid, you can certainly do a SaS as DNxHR and there are DNxHR QuickTime components available for download and install. Again, I am referring to the ability to make 1/4 size proxies. I would make some 1 minute clip tests at different resolutions and proxies and do a test of what it will require storage wise.
Meanwhile I continue testing the conform side of things with FrameFlex… not that straightforward and no documentation from Avid on these types of workflows.
Michael