Michael Phillips
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COW Coin
Forum Replies Created
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Without seeing the ALE, it’s hard to tell, but I would start by ensuring the header has the proper frame rate as the project and that all the START and END timecode are an exact match. Then it will either be TAPE and SOURCE FILE that it will match on with Start and End.
On a related note, here are some of my blogs in working with ALE files:
https://24p.com/wordpress/?p=224
https://24p.com/wordpress/?p=200
Michael
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Take a look at the most recent Media Composer system configuration guide here:
https://avid.force.com/pkb/articles/en_US/compatibility/Media-Composer-System-Requirementsfor basic HD work, I still use my mid 2011 15″ MacBookPro with 16GB RAM and works fine for basic sequence and a few layers.
Michael
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So I went an un-archived some 2.5K DNG files and downloaded some .ari 2K files as well just to have two different sources. I made OPAtom1a files with DNxHR HQX codec and used the MXF AMA plug-in to link to those files. I still have no problem with timecode.
In your last post you say MXF OPAtom and not OPAtom1a. Which ones are they exactly to be sure to replicate the same test. But I would go back to your support person at Avid and let them know that MXF from Resolve works and need to look elsewhere in the workflow as to what might be the issue. No cross frame rate stuff here is there?
As far as Scott’s findings, I don’t know what the exact process was in his workflow to be sure. I have been making both types of MXF files in Resolve 11 and now 12, and worked with them in the past several versions of Media Composer (DNxHD) and DNxHR with v8.x.
Michael
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I certainly did not mean you were spreading misinformation, but Avid support should not be making this blanket type statements when they are not true. But in re-reading my response it can certainly be taken that way, And for that I apologize.
But all the examples you have linked to in your response are related to QuickTime wrapper and not MXF. Avid has had a bumpy history with QuickTime metadata and to this day still cannot support the embedded REEL ID from a QuickTime file as you might find with an Arri Alexa recorded ProRes file.
If you want to send me a small MXF file you created from Resolve, I will take a look at it. But from all my MXF wrapped codec workflows I have never had an issue. If I am doing a MC only edit then I will make native MXF DNxHD (OPAtom). If I plan on using both Premiere and MC, then I will make OPAtom1a versions.
send via filemail.com or similar the exported MXF to michael[at]24p[dot]com
Michael
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“The Media Composer plugin for AMA link does not support the MXF wrappers from Davinci.”
Therefore it will not recognize timecode and generates its own which is completely different from the timecode embedded in the media.
I’m sorry. I’m calling bullshit on this one.
I took some of my DNG media into Resolve, exported MXF OPAtom1a (one file for all tracks), then in Media Composer used the MXF AMA plug-in to link and I have correct timecode. I have used MXF OPAtom1a from Resolve for many codecs and have never had a timecode issue.
In Resolve you have MXF and MXF OPAtom1a.
MXF + DNxHD creates .mxf files for each track in the file. So if VA1A2 you will have three files.
MXF OPAtom1A, for the same source clip you will have 1 .mxf file.
What works:
MXF gets added to the Avid MediaFiles/MXF numbered folder structure.
MXF OPAtom1a gets linked via the MXF AMA plug-in.What does not work:
One cannot link MXF (separate files) via the MXF AMA plug0-in.
One cannot put MXFOPAtom1a files in the Avid MediaFiles/MXF folder structure.Here is the original DNG file in Resolve:
Here is the MXFOPAtom1a file linked via the MXF AMA Plug-in the bin. The timecode is exactly the same:
But to say that MC does not support MXF wrapped codecs from Resolve is flat out wrong that misinformation should not be spread.
Michael
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The split frame issue may be the result of version of Redcine and other settings, but I would highly recommend NOT just import the ALE and do a relink. In the case of RCxPro, it makes the complete package automatically with MXF, AAF and ALE.
1. Move MXF to MediaFile folders
2. Import AAF into bin for desired project
3. Merge ALE into master clips created by AAFThe extra step adds no time to the process and the metadata is much more protected moving forward. I just got a call from someone the other night that all the SoundTC metadata disappeared from the sequence when generating lists – I asked if they did the ALE import relink? Yes. So while it may not happen all the time, you do not want it to happen at all.
Michael
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What file are you creating out of Resolve? You should just be making native DNxHD OPAtom files rather than an interim file that still needs to be AMA linked. Try that and see if it corrects the problem.
Michael
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I find with BWF export out of MC, you still want to open it in WaveAgent and make sure all the fields are set in the file. I usually have to remind it of frame rate. Then save file and you should be good to go with what Bouke is suggesting.
Michael
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I think we agree on all those points as well as the living through the Medea storage literally lighting on fire! Avid has always supported other application because existing Avid customers are expanding their toolset as you mention. While program editorial may be Media Composer, the marketing, PR, streaming side of the company may be using Adobe or Apple. And as you say, “nothing new” as that has been happening for the last decade.
I brought up in another thread the hypothetical discussion of which company could best bear the brunt of EOL’ing their NLE? I had Apple at the top and Avid at the bottom, on which we also agree (at least on the Avid side). The follow up question, and again only as a fun discussion over beer kind of way, If PPro and FCPx (or anyone else) became as adopted in Media Composer environments and was a full client to not only storage, but Media Central and the soon to be Marketplace, how much attention do you think Media Composer would get? It’s the usual challenge of resources, priorities and ROI. I’ve mentioned in other threads that a “Marketplace” strategy is based on number of seats attached to that Marketplace. Adobe alone added 680K seats in the last quarter. And when it comes to that type of revenue strategy, it does not matter what the actual seat is doing, other than it is part of the ecosystem.
Michael
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That is why I ask the question. My work with production is one layer up from the shared storage solution being used. I only make the point that Avid’s qualification of PPro and FCPx is about selling shared storage and just seeing what the choices were out there in non Media Composer environments.
Michael
