Michael Phillips
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COW Coin
Forum Replies Created
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My two views on the move, and could be totally wrong, or just partially wrong… 🙂
1. An exec wants to live in Boca Raton. Maybe he/she is from there (actually there seem to be women on the avid.com exec page), worked there before, etc.
2. It is a form of RIF without calling it a RIF. A whole division moves to another state. Your job is there now – can you get up and go? No? You no longer have a job. “We didn’t let you go, you just couldn’t come along!” In in some scenarios (depending on employment contract) if they offered any kind of moving assistance and you can’t make the move for whatever reason, they don’t have to give you a severance package.
In the end, I think it’s a combination of the two in some way. Corporation on the whole (and there are exceptions) are more about the execs than the “below the line” folks. I remember in a previous regime where there were several hundred folks laid off, the CEO got a nice $500K bonus.
So I await the Q2 earnings call to see how this all fits into the company strategy.
Michael
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One can argue that those coming from other systems don’t really need to link either… 😉 Just open, or drill down to the folder until media shows up like in Resolve. Users still need to know that Link requires the proper (still named)AMA pug-in, etc.
Michael
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I believe you need to set the edit rate to be 59.94 and not 29.97 in the project window “format tab”.
Michael
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No there is no way to do that and has been a long time request. There are only a few things you can do during playback like adding Marks, Markers, add edits and with a supported controller, a mix on the audio.
Michael
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Also make sure there is no Avid filler at head of sequence for any of the tracks – that used to give QT export fits. sync wise.
Michael
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I don’t know what is causing that. On my Mac Powerbook, Some apps see DNxHR and not DNxHD. I have reported this behavior during beta, but never anything concrete back that might be a solution to the problem.
Michael
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Some programs use FFMEG to decode/encode and is why some of them don’t see DNxHR, even when the codec is installed as part of the QT library. Resolve is another example of an application that does not use QuicTime libraries to decode/encode. Same for DCP-O-Matic – a free, open source DCP authoring an encoding application.
Michael
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How did you make the DNxHR HQX footage? Resolve will use REEL ID to conform and does not really rely on clips being in the same folder to do that. And if these files are in the same folder, it tells me that they are not native Avid MXF files in Avid MediaFiles folder as there should not be other file types in those folders. It seems you made a .mov wrapped DNxHT or a OPAtom 1a MXF wrapped DNxHR where Avid’s native MXF file use OPAtom. And from there you are AMA Linking (or just linking in 8.4)? Also, if you intend to go back to camera masters for the conform, why work at such at high quality DNxHR data rate? Are you working in 1/4 or 1/16 proxy?
It depends on the type of re-framing you want to do. If it involves any type of rotate to level off a horizon etc, then FrameFlex cannot be used as it does not have rotate. I had a project where it was shot 4K and I finished 2K DCI just so I could reframe and level a bunch of shots. If I wanted to keep quality in MC for the rotate, it required jumping through a bunch of hoops to do so. It was easier for me to just do all that in 3D Warp tool, save off FX and apply to other shots in the timeline and the conform was flawless in Resolve to the camera masters and the quality of the resize rotate was much better. So it depends of what your needs are. You can see the quality difference in my latest blog where I try using MC 8.4 to create 1080×1920 (portrait) editing for a museum piece a I did a few years back. This was a simple 90 degree rotate and resize and you can see the big quality difference:
https://24p.com/wordpress/?p=233
But I created a 1920 x 800 project and am trying some round trips and will let you know.
Michael
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So in this workflow, when you transcode your color corrections in Resolve, you will render back out 2.6K media as DNxHR? If you transcoded to DNxHR LB, then you will want to conform back to masters and color correct from there and then create a higher quality DNxHR. If you started off higher quality, then the roundtrip will do.
You can also consider creating a 1920×800 or 1920×802 project and already have the viewers be at your 2.40 or 2.39 respectively without having to deal with masks and still have the original source media to reframe with. The exports from this project type will match your defined raster without dealing with black bars.
Michael
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I haven’t gone through all the different permutations and workflow advantages yet, but one thing to consider is working in a 2.39 aspect ratio project rather than letterboxing in a 1080 (16:9) project type.
FrameFlex can go to Resolve fine, it’s the return that needs careful attention. If you bake in the transforms in Resolve or not or you render to source dimensions in Resolve, and let the FrameFlex still be active on the timeline when the color corrected footage comes back.
Is the source footage 2.39 or are you masking to 2.39?
Michael