[Mike Krause]

Thus far this is tracking back to the response noting the Reel Name wasn’t being assigned in Resolve. A quick fix in the project settings to change that option and all is now well.

Thanks, Michael Phillips, for the nudge in the right direction!

[Mike Krause]

I’m in the same boat here – exporting DnX MXF from Resolve, AMA import into Avid and there is no Source or Tape file names, even when I update fields by hand in Resolve. No msmMMOB file either.

[Mike Krause]

The manual is another good place to learn the software.

[Mike Krause]

That pattern you noted is definitely not “normal” pulldown. SMPTE “A frame” pulldown looks like this (when viewing fields): AA-BB-BC-CD-DD.

You can use Cinema Tools to remove it, but you’ve got to know what you’re doing as it is destructive – i.e. it changes the master file. So work from copies if needed to figure out the right pattern to assign.

Another alternative is JES Deinterlacer, which also works like a charm.

[Mike Krause]

Sounds like your easy setup and/or sequence settings didn’t match your footage. I’m with Olin on the guess about the advanced pulldown as I deal with footage with similar end-result issues all the time.

There are a few of ways to fix this:

Long way is to go back to your original footage, verify the pulldown (normal 2:3 or advanced) and recut. (Yeah, didn’t think you had time for that)

Option 2 is Cinema Tools reverse telecine, but choosing the right frame pattern is hard (you do it by hand) and you need to work from a copy (copies!) of your final output since CT reverse telecine changes are destructive.

Option 3: if the pattern is rock solid consistent, drop your finished 29.97 w/ the 2:2:2:4 pulldown into a 23.98 sequence. It may take some fiddling, but the 23.98 sequence will discard frames in a specific pattern to fit the 23.98 frame rate. You’ll need to set your “in” on your element a few times probably and/or set your “in” in the sequence on different frames, but it works.

Option 4: JES Deinterlacer. Again you’ll need to figure out how to tweak the settings and set the removal pattern but it’ll work nicely.

Option 5: Bouke’s QT export trick (above), which is another good one.

Once you’re at a clean 23.98 “master” again, don’t use FCP to export to 29.97 if you need a 29.97 file, you’ll get that same bad pulldown pattern. Output to tape to get clean 2:3, or use Compressor to add it if you need to deliver a file.

[Mike Krause]

Sorry for the late response, holidays and all.

Yes, I’m using a 5.1 preset. I’ve tried the “automatic” as well as assigning channels by hand.

The feedback is exactly that – “this is only playing back in stereo”.

I went to my audio specialists (using ProTools) and they confirmed this, both by decoding the file in software to separate the channels as well as playing back the files through Dolby equipment to check the 5.1 separation of channels.

Interestingly enough, when they encode 5.1 ac3’s and I use Soundtrack Pro to open them, the files show six discreet channels. When I create them in Compressor or Soundtrack Pro, they always open as six channels but with audio only in the L and R channels.

Am I just missing a secret check box in the export settings or something?

Thanks for any more info you guys might have.

[Mike Krause]

The “how” is easy, it’s in the manual and the help file (just do a quick search for “Dolby”). I’d like to know how to get this to actually WORK.

I have tried to make these numerous times; invariably they encode as 5.1 surround but have the six discreet audio channels flattened to Left and Right. Nothing to any other channels. That’s having sent files to authoring stations (Scenarist, Panasonic, DVDSP, you name it) checked burns on several DVD and BluRay players, importing the ac3 into SoundtrackPro, sending it to ProTools operators who note the same issue, etc.

There are several threads here covering the “how” – but can anyone help get them to work?

[Mike Krause]

Don’t forget, on the Blackmagic cards (at least the Decklinks) you need to un-check the box in the settings that says “Remove field jitter when video is paused. Pulldown should then show correctly on your program monitor.

[Mike Krause]

ProRes has issues with crushed blacks and it artifacts (horizontal likes and blocking) like mad when there’s not enough info in the blacks for it to fill in picture info. For many things ProRes is a great codec, but when you’re working with media that is really dark it ain’t.

I’m told ProRes4444 handles low and crushed black levels much better than HQ, but I have yet to do a thorough test on my own gear to verify this.

[Mike Krause]

A few other key items to remember when using Compressor is don’t do all of your workflow in a single pass. While it’s possible, and certainly more convenient, you’ll get many more artifacts and it’ll take much longer, guaranteed.

Do one pass to down-convert your footage, do another pass to compress your footage. You can chain these jobs in Compressor so they’ll automatically start and run in the proper order.

Also, while the varying flavors of ProRes can be a boon to the day to day editing workflow, they definitely show their limitations when transcoding and compressing. Dealing with this workflow has become the mainstay of my work from a particular client, so I deal with it every single day.

If you can, go back and re-log-and-transfer your footage to Uncompressed 10 bit (or at the very least ProResHQ) and “online” your final sequence, then down-convert and compress. Your final product will be much cleaner.