Michael Phillips
1
COW Coin
Forum Replies Created
-
Thus Avid’s strategy to support Adobe and Apple on ISIS… if nothing else, you can still sell storage into these workgroup environments. ISIS is a solid shared storage solution, albeit more expensive than similar offerings. For those of you in non-Avid Media Composer (as a client) environments, would you consider ISIS as a storage solution for multiple editors? If not, what would be your choice?
Michael
-
Which solution and what didn’t work exactly?
Michael
-
If it is recorded using the XAVC-S codec, then it is not supported by the Sony AMA plug-ins. There has been lots of threads on this issue. For example: https://community.avid.com/forums/t/129982.aspx?PageIndex=1
You can use Resolve to transcode, ClipToolz to rewrap (PC), purchase an AMA plug-in from Drastic Technologies that supports it ($99), and some other workarounds that I may be missing but others can fill in with here.
Michael
-
You can highlight your sequence and do an AAF export with “copy media” and set up a target folder for where the MediaFiles should go. Assuming you need to eventually get the media to the other system via a hard drive (versus an Internet transfer), using the target drive is a pretty efficient way to go.
Michael
-
You don’t mentioned what version of Media Composer you are using. But since v7.x, Avid introduced source side LUT control and I believe the default is to auto-apply a LUT on sources. Check your color transform settings.
In the meantime, when you AMA link to the files, go to source settings for one of your clips and check to see whether there was a LUT applied or not. If so, you can remove it, change it, etc.
Also in 8.4 you can change the target color spaces of the GUI monitors to be Rec 709, or take video ranges and scale it back to full range, etc.
In the end, you need to decide what luma range you want to be working in, and what you are delivering as a master – broadcast (16-235) or streaming (0-255) and color correct accordingly for your primary master.
Michael
-
i would do a test where the media that has been copied is put on a drive that is the only active mediafile drive/folders. Open the project and that bin and verify that they all have media.
Michael
-
It most likely is grabbing the media for all sequences in that bin. Have you verified that media is missing for any one of those sequences?
Michael
-
Was the media created in a third party application like Resolve? Was the Media created using Avid DMF to transcode first?
If you look in the MediaTool, there is a column called project that associates the media to the project. That field gets populated at time of media creation (import, transcode etc.). If it was done in a another project, then that media is not associated with current project, etc.
So depending on how Automatic Duck associates media to project, and how media has been created, there can be issues.
One thing to consider is selected all your original master clips and dragging them to a timeline. Then when exporting the AAF, there are settings for “copy” media and you can set up a destination folder/drive. Something to try.
Michael
-
How was the media created in the first place? How it as created can change the Project that is associated with the media.
Michael
-
I am not questioning the dedication to the NLE, as it confirms the original hypothetical question that for Avid, the NLE is a fundamental underpinning to the overall business model and without it, Avid would less likely to survive compared to other companies offering NLE’s in their lineup.
There’s a whole other conversation to have about market growth, etc.
Michael