Michael Phillips
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COW Coin
Forum Replies Created
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This might still be available:
https://www.proflixsales.com/products/avid-products/avid-av-7020-20242-01?virtuemart_manufacturer_id=1013$500 though…
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Assuming all the WAV files were recorded the same way? What recorder what used? Are these polyphonic or monophonic files. For example, if they are monophonic and two tracks were recorded, and import settings were set to detect monophonic, you would end up with one clip for every two recorded, but the one clip would have two tracks. This reducing the actual file count by 50%.
Michael
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Make sure you have the Panasonic AMAM plug-in for your version of software:
https://avid.force.com/pkb/articles/en_US/Download/en394531As long as you copied the entire card structure, and no illegal characters in any of the path names, it should be straightforward.
Michael
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Doesn’t FCP7 import EDL’s? the only issue is if the Avid EDL is using a template not supported by FCP7 like the 16 or 32 character source file versions to keep up with modern formats. If not, send your EDL to me at michael[at]24p[dot]com and I’ll run it through Resolve.
Michael
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Resolve Lite should be able to do that. Import EDL, then export FCPXML from the timeline created by the import.
Michael
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I would export a QT “Same as Source” or a QT reference and encode to SD/HD in your authoring application. If you have a standalone encoder which at times can offer better quality, you can use the same files.
Michael
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Monophonic import has been buggy for several versions of software where one of the issues is not importing track metadata beyond Track 1. Every The latest version got better with using the BWF AMA plug-in but only later versions provided better support for monophonic. See my blog on this topic here:
https://24p.com/wordpress/?p=185Michael
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Also, v7 and 8 have an AMA export for OP1a directly from Media Composer to consider depending on what codec you want to use for the essence.
Michael
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One of the issues is what assumptions are being made by both applications when working with source that do not have timecode. Media Composer did/does import with a timecode of 01:00:00:00 whereas an AMA link starts at 00:00:00:00 – then it is up to Pro Tools to make some assumption as to what the timecode might be, etc. So all applications have to be on the same page when making these assumptions – we all know the saying of that goes with “assume”…
That being said, in future workflows, you might consider passing the WAV files through Sound Device’s Wave Agent where you can apply a timecode that gets embedded into the BWF chunk that is now used by all applications.
Secondly, you can do as Shane suggested and pass of the Avid MediaFile audio files with an AAF as it will contain whatever timecode and offset management as part of the workflow.
Thirdly, export all your WAV imports as BWF which will embed the timecode as seen in the START column and use those as new BWF masters in Pro Tools, but this does not gain you much compared to method #2 unless going to some program that does not supprot .mxf and AAF.
Michael
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I am sure that after 20 years with Apple, he cam more than comfortably retire and do whatever he wants – even if it is nothing. But I suspect the entrepreneurial and innovative side of him will start something new, different, but related to the media industry in some way. I doubt he wants to go to another NLE manufacturer and do it all again.
Michael