Richard Sanchez
8
Avid Coins
17
COW Coins
Forum Replies Created
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You can import it, but since MP4 files don’t typically have timecode, it might be problematic come online. I did a test a while back where I imported the clip and the Avid assigned it a starting timecode of 01:00:00:00 and then I AMAed the same clip and transcoded it, in that case the starting timecode is 00:00:00:01. The issue being, come online, if you batch import you’ll have to batch import the entire 2 hour clip at high res.
I’d recommend using MP4 to QT (https://www.videotoolshed.com/product/66/mp4-to-quicktime/3)
That will convert it to MOV with timecode so that you can AMA and transcode. Edit to your heart’s content. Then you can relink to it for online and just transcode what you need.Richard Sanchez
Los Angeles, CA“We are the facilitators of our own creative evolution.” – Bill Hicks
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You can AMA the Quicktime files directly. If you’re using a 5D Mark ii, I’d highly recommend QTChange (https://www.videotoolshed.com/product/42/qtchange) to embed timecode. If you’re using the Mark iii, it will already have timecode embedded.
Richard Sanchez
Los Angeles, CA“We are the facilitators of our own creative evolution.” – Bill Hicks
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She’s great. Once had authorization issues with MC6. All taken care of.
Richard Sanchez
Los Angeles, CA“We are the facilitators of our own creative evolution.” – Bill Hicks
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The reason the timecode reads out that way in a 23.976 NTSC project is because there are no true 23.976 standard definition formats. It’s always 23.976 within a 29.97 stream. If you go one frame at a time, you’ll notice your timecode read out is skipping frames. Something like 1,2,3,5,6,7,9 so it’s playing back 24 frames but the read out tracks up to 29.97.
Trying switching the project from 23.976 NTSC to 23.976 1080p. The readout should now be read out 23.976 as you’re expecting it. One of those weird things doing online in 23.976. Try not to pay too much attention to the timeline read out, and instead open the Timecode Window and set it to TC24 and do the same in the composer window.
Also, if you’re importing backup audio, flip your project to 1080p, import it, then flip it back to standard def for offline, otherwise it could be messy for online.
This is a workflow guide I made for a show I worked on which explains a bit of this. Might be useful.
Richard Sanchez
Los Angeles, CA“We are the facilitators of our own creative evolution.” – Bill Hicks
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I’m guessing the lack of the “None” codec is more likely an issue with Quicktime than with Avid. 1:1x will work HD and SD, though it is massively overkill in my opinion. DNxHD220 is used as a mastering codec very frequently. In the export window, you have to open the DNxHD Codec window to select what flavor of DNxHD you want. They are based on frame rates and raster sizes. For example, DNxHD220 is available for 59.94i but not for 23.976 because there’s less frames, and the equivalent is DNxHD175.
This DNxHD White Paper document is useful for understanding all the variations.
https://www.avid.com/static/resources/US/documents/dnxhd.pdf
Richard Sanchez
Los Angeles, CA“We are the facilitators of our own creative evolution.” – Bill Hicks
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DNxHD220 is only available if you’re working 1080 59.94i. If you’re working Standard Def, Avid 1:1 should be equivalent to Apple None.
Richard Sanchez
Los Angeles, CA“We are the facilitators of our own creative evolution.” – Bill Hicks
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Transcode first, auto sequence the audio and video clips, kick out an AAF and plural eyes. Autosync those, and you’re good.
Richard Sanchez
Los Angeles, CA“We are the facilitators of our own creative evolution.” – Bill Hicks
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I ran into weird issues with this lately, where our online house was delivering our CTM’s to us as Quicktime files. Hitting CMD-I revealed that the files were indeed DNxHD, framerates matched, and we could determine what flavor of DNxHD by the datarate. That said, no matter what we set our import settings to, it would not fast import.
I have a suspicion that if you have different versions of the Avid Codecs LE or PE installed on your systems, this might be the result. Just a theory though.
As applicable to your situation, I wonder if the DNxHD codec created by the Pix240 is based upon a specific version of the DNxHD Quicktime codec, and your system might have a newer version which would explain this.
Richard Sanchez
Los Angeles, CA“We are the facilitators of our own creative evolution.” – Bill Hicks
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You should just need to download the AVCHD plugin to AMA the footage, and you’ll need to know if the camera shot them over/under or side by side. If you’re unsure, I believe you can toggle between those in your stereoscopic settings.
Richard Sanchez
Los Angeles, CA“We are the facilitators of our own creative evolution.” – Bill Hicks
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Not familiar with the Sony XL-QD, but I worked on a show recently that was using U1 and U2 readers. Interestingly enough, despite the U2 being advertised for faster transfers and USB 3.0 connectivity, we saw better performance from the U1 drives. In any event, I did see some pretty large transcoding times especially with 59.94i material as opposed to 23.976.
In our case, all transcoding was being done at night and we and 8 readers so it wasn’t the end of the world. Since you mentioned you’re using USB 3.0, are you using a Cal Digit USB 3.0 card? I’d check for any software that might be bundled with your USB 3.0 card first.
Richard Sanchez
Los Angeles, CA“We are the facilitators of our own creative evolution.” – Bill Hicks