Michael Phillips
1
COW Coin
Forum Replies Created
-
It does indeed sound like you baked in the LUT during the transcode to DNxHD 36 in Resolve. You could have chosen to keep the file in their original LOG format when transcoding and applying the LUT as metadata within MC, but that is something to consider for next time.
For now, your only option to get back to camera originals is to relink or do a conform back in Resolve.
Also a side note that ProRes is not RAW. Many people refer to their camera original as RAW, but it can be misleading and really changes the workflow were the camera originals truly a RAW format. Especially with ARRI that offers ProRes, DNxHD and RAW. Other cameras like Red, Sony, etc. also have RAW formats.
Michael
-
Then do an export “Same as Source” which will be exactly what you have in your timeline. You can export directly to the target drive to be used for archive (hopefully more than one). If you want to avoid the whole QuickTime route, you can do an AMA export as MXF OPA1a as well.
Michael
-
Are you wanting to archive a flattened finished program or enough of the sources (with handles) in order to bring back online and make some changes if needed. Also, I am assuming you are archiving off to different storage solution that your active media drives used in editorial?
Michael
-
I’ll check on my system tomorrow. Have you tried new settings? Maybe just typing those column names as they they were a new column to see if they appear?
Michael
-
For other “platforms” like browser technology, there does seem to a difference between a plug-in and an extension.
“An extension could contain a plugin, but a plugin can’t contain an extension”
Full article here:
https://colonelpanic.net/2010/08/browser-plugins-vs-extensions-the-difference/
Michael
-
Type it in the master caption list and the individual caption area.
Michael
-
That’s something for you to test, it is not something I have needed to do so I don’t know off the top of my head.
Michael
-
Changing project to 24bit is fine. DO that first, then only transcode for the 16bit material. There is a setting to show mismatched audio rates as a different color waveform if you want to be sure.
Michael
-
I would make sure that all audio sources are of the same sample rate and bit depth to avoid mixed sample rate issues downstream as you suggested.
Michael
-
It is quite common to only sync with the Mix track(s) during editorial knowing that there is a downstream post process. Pro Tools has a feature to do track selection when conforming to get access to the desired track when conforming from the original files. There is functionality in the AutoSync window specifically designed to isolate any range of tracks from the incoming audio when syncing. Should the editor ever need to go back to an ISO track for whatever reason, it is a simple two match frame process. One from the record monitor to load sync clip, turn off V on source clip and hit match frame again on source and it will bring up the sound file at proper position on the MIX+ISO track file.
This does not mean that Media Composer can’t do a better job of preparing a timeline when sending over to a sound post process when working with Mix track only, but today it is handled in Pro Tools. And there are several designs I can think of to make this a much better process. But if you are working in something other than Pro Tools that may not have this feature, then editing with all the tracks may be the better way to go.
As far as your current situation, you can always subclip the sync clip with only the desired tracks in them. You cannot modify the tracks as suggested on the Avid Community forum. That can only be done on master clips. As far as already edited timelines. just delete the audio tracks that have the ISO provided no other audio events have been added to those tracks that you want to keep.
Michael