Richard Sanchez
8
Avid Coins
17
COW Coins
Forum Replies Created
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Symphony has a feature called “Universal Mastering” that should do what you need. You’ll work in your primary acquisition format (You can set your timecode window to display timecode in the respective rates you’re delivering to) and your final step will be to use Universal Mastering to layback. As far as I know, Universal Mastering only works with Avid’s hardware and not with any 3rd party hardware, and Universal Mastering also only works for tape delivery, there is no equivalent for digital delivery, in which case you’ll need to look into converting your final master. I’d use compressor, personally, but there are a multitude of options.
This is a great explanation of Universal Mastering from Job Ter Burg
https://www.jobterburg.nl/Publications/UniversalMastering_v1.2.pdf
Richard Sanchez
Los Angeles, CA“We are the facilitators of our own creative evolution.” – Bill Hicks
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Anytime!
Richard Sanchez
Los Angeles, CA“We are the facilitators of our own creative evolution.” – Bill Hicks
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No, you can’t modify the Source File name column. I’d put it in the Cam Roll column or create a custom column for it.
Richard Sanchez
Los Angeles, CA“We are the facilitators of our own creative evolution.” – Bill Hicks
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Are you getting your dailies from a lab or from a DIT? First step, is I’d ask them. Then, I’d contact who’s going to be doing your conform. Finally, as a test I’d cut clip into a sequence and make a test EDL like that article lays out. If you have the information of the 20 character file name, there’s no reason why you should’t have a smooth conform, but again, I’d always check with who you’re going to deliver to.
Likewise, on the last film I worked on, our lab was fairly inconsistent about providing us with ALEs with the Sound Roll information. We’d have dailies with Sound TC burn, but no Sound Roll or Sound TC on the actual clips. That could cause problems for dialogue editing. I’d check on that as well.
Richard Sanchez
Los Angeles, CA“We are the facilitators of our own creative evolution.” – Bill Hicks
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Is there a tape name? I’d contact your lab to find out how they prepared these dailies, since obviously they’re going to have to be conformed at some point. With Alexa, I know they store an 8 digit reel name in addition to a 20 digital file name, but because of how the Avid stores that information, if there’s a reel name it doesn’t store the source file name. One workaround I see done, is they’ll store the 20 digit source file name in the Cam Roll column. That’s just one way of doing it.
This link explains that difference between the 8 digit reel name and the source name.
https://www.jackjonescolourist.com/wp-content/uploads/2012/01/alexa_filenames_reelnames.pdf
But to answer your question, I’d contact your lab as the first step.
Richard Sanchez
Los Angeles, CA“We are the facilitators of our own creative evolution.” – Bill Hicks
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Before you upgrade, check the Avid compatibility matrix. This chart will tell you what OSes are compatible with what versions of Avid.
https://avid.force.com/pkb/articles/en_US/compatibility/en267087
Richard Sanchez
Los Angeles, CA“We are the facilitators of our own creative evolution.” – Bill Hicks
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You mentioned cards and the SxS driver. That sounds like XDCAM EX, which usually comes from an EX1 or EX3 camera (As opposed to the XDCAM Optical Discs) Is this correct?
Richard Sanchez
Los Angeles, CA“We are the facilitators of our own creative evolution.” – Bill Hicks
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Do you just have the MP4 files? You need the whole card structure in order to properly bring in that footage if it came from an SxS card.
Also, since you’re on MC 3.5. You really should consider upgrading, since the AMA features of MC 4 and above will make this footage much easier to bring in and transcode.
This link describes a method of bringing the footage in without AMA, since you don’t have it on version 3.5
https://blog.davidesp.com/archives/278
Richard Sanchez
Los Angeles, CA“We are the facilitators of our own creative evolution.” – Bill Hicks
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Like Glenn says, I’d take this into After Effects. In fact, using Mocha in conjunction with a script called “Mocha ImportPlus” will make your life much easier.
https://aescripts.com/mochaimport/
The script is $40 but again, it will make your life a world easier, especially if the shot is shaky.
If you haven’t used Mocha, have a look at this tutorial.
https://www.youtube.com/watch?v=003MkmtoAys
Richard Sanchez
Los Angeles, CA“We are the facilitators of our own creative evolution.” – Bill Hicks
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Their really isn’t a clear guide of when to use what DNxHD codec, and why however here is Avid’s DNxHD Whitepaper with all the information you could possibly want about DNxHD.
https://www.avid.com/static/resources/US/documents/dnxhd.pdf
Since you mentioned DNxHD185 I’m going to assume you’re working in PAL. I work in NTSC so I’ll be using equivalent codecs, but I’ve worked on shows that finished DNxHD145 because of space limitations. I worked fine, but if you have the space it’s generally best to finish as high quality as possible. True, XDCAM 50 is already a lower bit rate, but that’s also a Long GOP format where DNxHD is an intraframe format. The other thing to note is that the X resolutions denote whether it’s 8 bit or 10 bit. So DNxHD185 is 8-bit and DNxHD185x is 10 bit. I believe all version of XDCAM are 8-bit so it probably makes most sense to finish at DNxHD185. The other thing to keep in mind is your client. Some clients require specific codecs for mastering, but in any event if I were you I would master at DNxHD185.
For offline, I would have used DNxHD 36 (If you’re working at 25p) or DNxHD 85 (If you’re working 50i)
Richard Sanchez
Los Angeles, CA“We are the facilitators of our own creative evolution.” – Bill Hicks