Shane Ross
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While the outside looks even MORE cheese gratery than the first one…the internals are impressive. And I’ll be getting the second generation version…maybe. If they wait 1 year between versions, I’ll do this, if they go MULTIPLE years…maybe not. Next spring though…it’s on my list
Shane
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So, outside, on the finder level, it’s all messed up. But in PPro, it’s all nice and in organized bins. And you want to somehow translate that cool PPRo organization TO the finder level, have that SFX reorganize itself into folders like it is in bins in PPro….right?
Not sure a CONSOLIDATE will do that. I believe that the consoldate will just move or copy the media from the existing Finder level organization…and replicate that in a new location. At least that’s what it did last time I did a consolidate
Shane
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You are even more behind the times. Avid MC is beyond MC 8…and now is dubbed “2018” and 2019 coming soon. The Avid channel on YouTube has the latest stuff.
Shane
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[Oliver Peters] “Pro display starts $4999 available in Fall.”
$1000 stand sold separately.
Shane
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I had just about every plugin package made for FCP 7, and I don’t recall seeing that. Anyway, if it DID exist, not sure you’d be able to find it. Not many people will keep selling plugins for an edit system discontinued 9 years ago.
Shane
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OK…just so i’m clear on my end…
You have a drive full of MXF media, media that Avid cannot import or link to, correct? So you took that media into Resolve and rendered out OP Atom MXF files…and then again tried to IMPORT or access them via the SOURCE BROWSER, correct?
First off…where did this original MXF files come from? Camera masters? Did a DIT on set create this? With what? Right now it sounds like someone gave you files without informing you how they were made, where they came from…what they are. So better communication is needed between you and the production supplying the files. Without knowing WHAT they are, where they came from, there’s no way to know what to do. All we can do is assume certain things, and then work from those assumptions, and those might be wrong.
So…if the production gave you MXF files already rendered out as MXF Op atom…then they are AVID MEDIA files…the sort that Avid creates when it transcodes media. To bring those into Avid, you need to put them into the Avid file structure…so on the media drive, in the Avid MediaFiles folder, MXF folder, there will be numbered folders. Make a new one, and name it with a number. If “1” is already there, and that’s it, make a “2” folder, and then drop all the clips into that. Then launch Avid. If they are MXF OpAtom files, then Avid will create a database (progress bar will appear when you launch Avid)…when that’s done, you simply make a new bin inside Media Composer, then open the “2” folder, and look for the “.mdb” file in there. Drag that file into the new bin, and it will then populate with the clips in that folder.
If these MXF files are not camera masters, this won’t work, and Avid might say “WHOA! These files are messed up. WOuld you like me to quarantine them?” Click no if that happens. If that happens, linking to the footage via the SOURCE BROWER might be what you need to try. But then you’ll need to know if these are files made by a camera, and then WHAT camera, and then choose that plugin when linking to the files. If linking doesn’t work, i’d assume (assuming is bad, tho), that they are actual Avid media….and the above step should solve this.
Now…when YOU went and made new MXF Op Atom files with Resolve, you recompressed the media….to a very very high end codec, without knowing what type of files you have. They might be low res media created for editing, and you then made them far larger in quality and size. IN ANY CASE…the steps you did in making Avid media…once you do that you need to follow the steps I laid out above, making a new folder, dragging the .mdb file into a bin…because that is Avid media, and you can’t IMPORT or LINK to that…you can only access it they way I say, or by looking for it with the MEDIA TOOL.
But BEFORE YOU DO ANYTHING…you need to contact production and find out what you have…what sort of files.
Shane
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OH! OK, you are talking about Camera ORIGINAL footage…P2. Yeah, don’t do this with camera original footage. Avid doesn’t work with the footage like that anymore.
So, the SOURCE BROWSER is the way to go here, and then choose P2 as the plugin, if offered. Does that work for you?
Shane
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Yup…that’s my complaint. Not being able to see how many INCOMING tracks there are, until you cut a shot in. A big weakness in DR
Shane
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If they are Avid generated files…the ones that when you transcode go into the Avid file structure…then you need to do this:
Go into the Avid MediaFiles folder on the media drive…open MXF. In there make a new folder, name it “10” or “100,” or any number NOT currently in use. Drag the MXF files into there.
Open Avid. It’ll create a database file (you’ll see a progress bar as it does this).
When that is done, make a new bin. Then, open that numbered folder you put the files in and look for the “.mdb” file. Drag that into the bin you made IN AVID.
That bin will populate with all the clips you brought into that new numbered folder.
Shane
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You see that the tracks will have a red outline on them? If you want to do video only, click the audio tracks with the red outline to turn it off, then do the INSERT or OVERWRITE.
But yeah, the fact that we CAN’T see the source side separate from the timeline side bothers me. In Media Composer and Premiere Pro, I can have a timeline with 1 V and 2A…and then load a clip that is 1V and 8A…and see that right away, I can see all 8 tracks of audio on the source side. ANd turn them off if I want. IN Resolve, I can’t see that. Only if I have 8 or more tracks can I see if the source side has that many, and the only way to tell is if they have red outlines.
Shane
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