Shane Ross
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Wait…there is no such thing as 23.98 drop frame…so why would Adobe have an option for it?
Shane
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[Eric Santiago] “Has anyone used Resolve for this kind of trip?
I’ve had to one time and it worked for me.”All Resolve can do in this instance is create editable media. That’s it. It can’t do prepping that will transfer, it can’t make bins that will transfer. You can’t build a project in Resolve, and transfer the entire organization to Avid.
Shane
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iMovie used one of two codecs when it came to HD. HDV, or Apple Intermediate Codec. The HDV codec Apple used made files only viewable on a Mac…oddly enough. But since you play them on the PC, I believe they are the other file type, Apple Intermediate Codec.
I don’t know the solution, as you are on Windows. On the mac side, I’d have plenty of options. But I just wanted to provide additional information that might be helpful.
Shane
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[Michael Phillips] “Media Composer has yet to support embedded reel names in these formats via AMA.”
This, i would THINK, would be a HIGH PRIORITY for them. Reel names are so damn important, yet none of the NLE’s really add that essential thing, except the few that take this embedded one. So stupid. FCP 7 did this, and did this well. FCX? Nope.
Shane
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[Andrew Kimery] “I think Bill was referring to the iOS version of iMovie since X has always been able to import projects from he desktop version.”
Roger dodger…I forget that exists
Shane
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[Andrew Kimery] “Adobe Premiere Clip (2014) did this before iMovie and Avid Studio (or was it called Pinnacle Studio?) did this years before either of them.”
In 1995, Avid introduced Avid Cinema…when Apple was in the PERFORMA phase. I worked at Apple then, in tech support, and was the guy who these calls were sent to because I cut on Avid in college. Didn’t last long, 1 year. But yeah, Avid made a consumer version WELL BEFORE iMovie. Yeah, it failed… but so did the Newton!
Shane
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[Bill Davis] “So open iMovie files in FCP X brought forward 2 years or so?”
Yeah, but iMovie doesn’t do timecode, or reel number…doesn’t deal with professional codecs. Was, and is, extremely consumer oriented. If you captured and cut in iMovie, and wanted to go back and bring the footage in again with a better codec? Manually overcutting is your only option. Zero metadata linking it to the camera masters
Shane
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OK…you are going about this wrong. But I think you knew that.
The files were created in Resolve, right? Now, will the online/grade be happening in Resolve as well? If so, then all you need to do is export an AAF to the colorist, and get them that and the camera masters. If they didn’t make the dailies themselves, then a Resolve project file (exported project file), would be helpful to them. THEY will do the conform on their end, as the dailies we made in Resolve.
You can only relink to master in Avid if they were made in Avid. And that workflow would be to…well, with your old version, i’m not sure. I think AMA was out by MC 6.5…but it didn’t do 4K…so no, even if you wanted, you couldn’t conform in Avid. Your version doesn’t do 4K. So send off the AAF and the masters to be conformed in Resolve.
Shane
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Yeah, that would be a BIG difference. Taking your 30p and converting it to 24p? Yeah, that’s removing 6 frames per second, and it will look darn choppy. If you shoot for cinema or web, shoot 24fps…23.98. 30p works fine for TV (and yes, web)…but for cinema…they require 24fps, so if you plan on showing in a cinema, 24fps needs to be your shooting format.
yeah, that’s absolutely the reason…30p to 24p…yup, choppy.
Shane
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Then gotta be something on their end…do they convert it after you give it to them? Play it off a hard drive?
Shane
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