Michael Phillips
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COW Coin
Forum Replies Created
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These are image files created on OS X and need to be mounted first. They are like virtual drives that grow as they copy to them. They are not the same thing as creating a .dmg file which I think is they wanted to do as I have seen that practice being done on set. a .sparseimage is used by Apple Timemachine and thus has different mounting requirements. Perhaps this link will help:
https://neilstyles.com/auto-mounting-your-timemachine-networked-sparse-bundle/I would ask that they not create sparseimage files. It is not a common practice. Once you’ve mounted the image file, you will need to copy contents out to another drive before you can AMA link to them. This is a case of a DIT trying to be too smart in his/her backup practices. They should either do DMG or use one of the many copying applications designed for on-set copy such as ShotPut Pro:
https://www.imagineproducts.com/index.php?main_page=product_info&cPath=1&products_id=2RedGiant Offload: https://www.redgiant.com/products/offload/
Or even free with Resolve – these products can do sumcheck and reporting as needed. If they are making this a career or freelance job for themselves they should be aware of these tools. They should also be working to the requirements of post when delivering to them.
Michael
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These files should be accessible via the QuickTime AMA plug-in that gets installed with the Media Composer, so there is no need for any additional plug-in. Are they trying to use the file or folder version of the plug-in? If folder, there is a folder level limit (3 I think) that you can’t go beyond.
Michael
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The names given to the MediaFiles in the Avid MediaFiles folder are unique to Avid and is managed by a database. Since Avid uses OP1a, meaning each track of a clip is a separate file, the names you see will have an A or V and other unique info.
The actual camera original file name will be either in the TAPE or SOURCE FILE column depending on how the media got created. If via AMA link, it will be in the SOURCE FILE. That is what is used for unique identification, relink, merging and other metadata operations as a SOURCE/REEL ID.
Michael
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When project types have similar characteristics as there in this case, and can be switched in the project profile, you can get away with what you are suggesting. It is when the rates do not have anything in common and are not available via project format that the recommendation is to create a matching project type to the sources.
Michael
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What are you exporting as? If you export out a WAV file, do you hear the same thing? Another thing to try is an audio mixdown first, then export that to see if it corrects itself.
Michael
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175 is the 24fps data rate of the 220 data rate family.
Michael
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There is a whole 3D guide in the docs section of the online library that gets installed. See my screenshot for where it is on OS X – I suspect a similar place on PC in the Avid Media Composer folder.
As far as quality, if you are not going back to camera originals, what is your final output destined for? Streaming, broadcast, theatrical? I am assuming these are 1920 x 1080 or are they higher resolution? Streaming I would suggest 115, if broadcast then 175.
Michael
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MC6 introduced a robust stereo 3D workflow directly in Media Composer removing the need for using MetaFuze to prep the material. Metafuze was the solution in v5 where there was a pseudo 3D editing solution and material needed to be prepped outside the application.
In v6 and later you can choose to work full left full right, side by side, over/under, etc. I would read up on how to work in S3D in the User Manual. I would recommend transcoding full left and right via AMA link to DNxHD of your choice, then use those assets to create S3D clips directly in MC. From there you can set viewers to see 3D in a variety of methods.
Michael
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I don’t think there are any limitations to the trial version as far as functionality – the only limitation is the 30 days.
https://www.redgiant.com/products/pluraleyes/If you want to see which clips made up the sync clip, highlight the clip in question, then at the bottom left corner of the bin it is in is a menu (referred to as the hamburger menu) and in there you will find “media relatives” When your bins are open, it will highlight the two clips that made it up. Or of in the same bin, they will become highlighted.
Michael
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I would download the 30 day free trial of PluralEyes and read my blog on how to use it with Media Composer:
https://24p.com/wordpress/?p=218If not, and assuming there is a clap(?), I would mark an IN on both picture and sound clips, then on a per pair basis, use AutoSync and select Mark IN as the sync method.
If you have no reference at all, then PluralEyes is your savior.
Michael
