[Rosie Walunas]

This is exactly what I want to know:
“The only thing I don’t know, and maybe someone can help clarify this, is if you dump 23.98 footage on to a 59.94 timeline in AVID, will a proper 2:3 pulldown cadence be applied?  Or will you just get weird motion blurring to achieve the conversion?”

And how is it best to literally bring in the material into Avid? Do I load in a project with the same specs then how should I get that material into the master project? Open Bin? Then what? Move Bin into master project folder and open the project?

Thanks.

[Rosie Walunas]

Thanks for your response.

So blending / ghosting is ‘okay’ for color correction? Let’s say someone is waving their hand and the frames are blended with ghosting – this is acceptable?

I’d say that the speed factor is important as a lot of the footage is of people talking.

You write, “Ideally the frame rate conversions should have been done prior to editing, as you’ll now have a fairly labour intensive job to re-connect everything at the different frame rates. Of course, it’s not always possible due to time or budget restraints to do this, but it’s worth bearing in mind for future reference.”

Does this mean you do agree that the frame rate should be converted to the project’s frame rate before editing. This is what has been done, but I have seen on other posts, people suggesting not to convert frame rates and to drop it into FCP and actually edit with multiple frame rates (this as you point out doesn’t make sense to me).

Let me know if you have further thoughts.

Thanks.

[Rosie Walunas]

Have time for that quick tutorial? I think I’m getting a grasp, but still doing research. The learning never stops.

Thanks!

[Rosie Walunas]

I think that’s what I’m up against. But, I guess, to rehash the issue is whether or not the deinterlace box should be checked when ripping a DVD, which are more often than not 29.97. Most of the time if the box is not checked then scan lines are present, but, when deinterlace is checked, then the pixel ‘boxes’ are more present. Neither look great. This is most obvious when the cartoon rips are presented.

Any other thoughts?

On a lot of projects I’ve done, I’ve ripped the DVD and Exported straight to HD, so the pixels behave differently, somehow. But I can’t do that for this project due to space and the editor’s call.

Still trying to nail this…

Thanks.

[Rosie Walunas]

So let’s say, when I get Stream Info it shows “lower field first” – but MPEG Streamclip is defaulted to land on Upper Field First in the Export Window. Should I simply select Lower Field First? Or Upper Field First? (When the DVD is going to go to a Progressive project.)

If I do not select De-interlace – sometimes the scan lines are visible – and especially when we have projected on a big screen. However, just as noted above, De-interlacing is a bit degrading. To be extra specific, this was most noticeable on rips of cartoon shows 4:3 DVDs. Both ways look like a huge loss.

I’m constantly thinking forward to the online – so any additional thoughts would be great.

(Not to keep this never-ending argument going.)

Thanks!

[Rosie Walunas]

Great. Thanks for this feedback. And especially good to know these books would be great investments.

I just got Kyra Coffies’ “The Avid Assistant Editor’s Handbook.”

While this might not be all encompassing, but she has a section on Importing XDCAM media from discs at the Highest Res (and proxies). She notes the importance of Modifying the clips to assign them a Tape name in addition to the Disk name that one gives to the batch of media being imported.

Does this make sense? Not only would I want (obviously) clips to be able to be Batch re-imported at the online, but I’d like that the original clip names come out in the EDL.

I’m prepping myself for an Avid assisting gig where there will be a bunch of archive elements, green screen work, and of course shot footage.

Thanks!

[Rosie Walunas]

Ok, interesting.

Perhaps, I’ll run another test, but I also did a test to see if the clip in Avid would Batch Import to the wrong clip, but knowingly and manually selecting the wrong clip, and it did in fact link to the wrong clip. Is this crazy?

It would be great to see a quick tutorial on how this would work ‘offline’ to ‘online’ with all the renaming and low-res to high-res.

Also, any other literature out there that you could share would be great.

Thanks!

[Rosie Walunas]

I only rearranged the files, because don’t files get moved around in general? Basically, are you saying, that once clips are Imported, their original source path cannot be moved? But what if they are?

Also, is it okay to rename/label the clip Name? How would one keep track of the original clip code?

Let say the clip code is “A045001,” then it is Imported and renamed “Race Car.” How would one know what this clips’ orignal name was and then be able to reconnect it back to the original file so that it could be Batch Imported at a higher-res?

Thanks!

[Rosie Walunas]

I am having this exact same issue, where I Transcode (the files are MP4 and I cannot Consolidate) the clips as HD, and when I bring the Bin into the 4:3 project, the clip is squeezed. What the heck to do?

Thanks.

[Rosie Walunas]

I see. This is very interesting. Thank you for this feedback.

What about assigning “Tape” names for archive IDs? The “Tape” label cannot be edited once it’s created – kind of like an actual tape. Could there be problems with this?

Or, might it be better to have a sort of vendor name column, and then duplicate that column information in a sort of back up column so that in case the vendor ID gets changed, there’s a ‘back up.’ Though, I’m sure an archive person would also have a spread sheet with the info, theoretically.

Thanks again for your thoughts!