Paul Dougherty
1
COW Coin
Forum Replies Created
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Thanks Nick, I’ll check that.
With Shane’s help this is what I figured out that works. I’d use PluralEyes to find sync* but I would not actually use the Sequence that PluralEyes generates but rather just pull TC values or “in points” from it
I have a 11 min video clip with bad camera mic sound, a 50min “good” audio wave file. I would first transcode this Canon h.264 mov to ProRes, bring that into FCP. Using the PluralEyes in-point on the wave file to make a audio sub clip to match the approx length of the video clip. I’d lower the level of the of the bad audio down to zero, then merge these clips. The result is good but I have 2 useless silent tracks in the merges clip, my only little gripe. I did a test edit cutting bits of this merged clip together in a new seq, exported the result and it holds sync. Of course, one might say but in so many tests I did things went out of sync after exporting, I was spooked.
*if if have several good audio recordings (like boom & lav) can I use PluralEyes to sync up 2 good tracks at a time That is – to tell PluralEyes (standalone 3) there are 2 audio recorder files that need to be sunk at once? I’ve poked around but it always seems to butt the 2 on a single track.
Paul
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Thanks Shane,
Sorry I missed your ‘merged’ post. Sorry to say I was not familiar with ‘merged clip’ – embarrassing, but thanks so much. I guess the thing that freaks me still is the that (even with a proves version of the footage) I’ll have this merged clip in a (final edit) seq timeline, all nice and sunk up then I go to export my ProRes master and the shots are out of sync again. I would like so much not to bother what is happening ‘under the hood’ – re this sync strangeness.
I’ll try to maker a test edit with the merge clip technique and see where I’m at.
Paul
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As a side note I should mention that when I did a log & transfer with this Canon footage (w camera mic and) it too was out of sync once it was ingested by FCP. I’m going to try what Shane is suggesting using Compressor to x-fer the h.264 ftp ProRes
Paul
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Thanks Shane, so convert raw to ProRes, sync that, then export the sunk up timeline to ProRes to make a new ‘working’ footage file?
Paul
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Though I never got to the bottom of why the Transcode sequence would leave so many clips as AMA, I did achieve some closure on the issue. I wound up selecting the AMA clips left over on the mostly transcoded sequence (show reference clips) and (hi-liting) transcoding them in respective 29.97 & 23.98 projects. I had so many problems of late intermittently losing links to AMA files, I lost a lot of confidence in Avid linking and relinking. I fully feared and expected to have to replace the resistant AMA clips by hand but… I took the all AMA footage off-line, got a seq with a lot of (AMA) media off-line then selected the seq and asked it to reLink (to the hand transcoded .new clips) and OMG it worked. You might say just like it was supposed to… and I’d answer that so many things were not working as they were supposed to that I was surprised.
But ‘praise be’ it worked just as the sun was coming out after a major NYC thunderstorm. After much torture, happy ending, I think:)
Thanks everyone,
Paul
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Just tried to do the transcoding on a MC6. Really just an Avid nightmare, no solutions and a whole new set of error messages. Going back to the MC 5 that I cut it on.
Paul
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From this struggle I’d really like to know why “transcode sequence” will transcode most but not all the clips in it. As unappetizing as it is to hand transcode those that got skipped and then hand relay all the video clips, worse still is having to relay the audio one that got skipped – then having to reset the level of each one.
Last question for now – is it normal that clips of a different frame rate (that originated in a ‘sister’ 23.98 project) got skipped from being transcoded?
Thanks,
Paul
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Thanks so much Michael.
The plot thickens. I see that about 75% of the clips that refuse to transcode are not in the project frame rate.* Part of the problem might be that the AE on the job created the bins for the 23.98fps cards in a 23.98fps project. Maybe that is a factor but what to do?
When I start to do the hand transcoding I get this warning…
“Some clips do not match the edit rate of the current project. Transcode creates new clips that match the current project rate. Because the new edit rate does not match the original clip, you cannot batch capture, batch import, relink or link (via AMA) to these new clips. Convert or skip clips that do not match the edit rate of the project?”
I never like severing the link back to the original files but in this situation, do I have any choice?*(Maybe the rest that are native 29.97 might come from Canon files.)
Thanks,
Paul
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Yes Michael,
That confirms the list the Console first gave of what was skipped. It would appear that none of the AMA clips in the Seq were Transcoded after having aced the system to Transcode the whole seq.
As a follow-on. I’m going to try this route- (but would rather get the original workflow I posted to work) isolate the AMA clips in the bin by Show Reference clips, trans code them. If push come to shove I’m ready to hand replace the AMA shots with the newly transcoded shots* But I’m puzzled by the nature of AMA audio. Yes there are many kinds of cameras and directories in the mix but one would think Avid (MC5.0.3) could handle the Consolidate conversion of audio on the fly? Or no, all that audio has to be transcoded too?
*Once I manually transcode the AMA clips revealed by the show Reference clips, I guess the only way to automate getting them in the cut is to take my AMA folders off-line and ask the sequence now missing the AMA clips to Relink to the Avid Mediafile drive, yes? I have reasons I did not want to take the AMA folders off-line but really don’t to hand-relay the audio and hand reset all the levels in my mix.
Paul
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btw my post by the same subject on the Avid-L resulted in 15+ replies providing a lot of good info