[Trevor Asquerthian]

1080P XAVC in .mov for F5 & whatever flavour of AVC the A7s records in .mov

(from memory – don’t have project at hand)

But all that detail is by the by – in the end I contacted shooter and asked him… But surely this is useful metadata that PPro can show me?

[Trevor Asquerthian]

In this case a Sony F5 and an A7s

[Trevor Asquerthian]

Version 3.5.1.209 released on 2/14/2016

Fixed an issue in the Creative Cloud for desktop app for Mac where in some scenarios the application may incorrectly remove files with user writeable permissions from the system root directory.

[Trevor Asquerthian]

BackBlaze release details of their hardware testing – which is a pretty good reason to support them.

They also have interesting alternative to Amazon storage in beta.

I’ve now created multiple .adobedontdelete files …. Surely they will fix this soon (and it is a major mistake – but great publicity for BackBlaze perversely)

[Trevor Asquerthian]

and further to that, just in case anyone is interested:

Amending the CatDV.ALE to be Avid compliant in File-based AMA workflow…

Having imported lots of AMA clips to one bin in Avid and catalogued seperately in CatDV…

In CatDV

1. Create subclips (mark in with I, mark out with O, make subclip with U)

2. Select all subclips and (right-click) export as ALE

in TextWrangler

1. Open ALE
2. Do RegEx find of
(/Vol.*lip/)(.+\.MXF)
(you may need to amend file path and endings, mine were in the format /Volumes/xxxxxx/Clip/yyyyy.MXF)
Test you are finding the right bit with the ‘next’/’previous’ buttons

3. Put \2 in the replace box (will replace whole path with just file name)
Then ‘Replace All’

4. Change ‘Mediapath’ heading to ‘Source File’

NB avid is very particular about Camel Case and tab seperation

In AVID

1. Make sure your import settings for ‘shot log’ are set to merge with known sources and create subclips
2. Make sure AMA bin is open and all clips are selected
3. Drag ALE bin into that bin and it should create subclips that all link up

Easy

[Trevor Asquerthian]

FCPX does seem to work with OP-Atom MXF files from Avid (these are DNX120) if pro video formats v2.0.3 is installed, together with the LE versions of the Avid codecs.

Currently having issues where installing Media Composer v8.5 (and thus the PE version of the codecs) breaks this functionality. Didn’t have MC on this build before so I don’t know if it is a v8.5 issue or just a PE version of the codecs issue.

[Trevor Asquerthian]

So of the three Avid alternatives (FCPx, PPro, Resolve), Resolve is best so far at importing AAFs from Avid. These are linked media AAFs rather than consolidated or embedded for the moment (just to keep it simple).

PPro does a good job but has lots of offline media.

Resolve so far seems to have everything online and in the right place.

FCPx can’t import AAFs, but an export of the xml from Resolve DOES import – but only links to video in timeline.

[Trevor Asquerthian]

Yep, El Capitan – does it outside FCPx too now though, so maybe it’s just the left USB3 port. Currently having more success with right hand port.

Still no answer on anyone using Avid MXF archive with any success?

[Trevor Asquerthian]

You can see TIMECODE if you use overlays (spanner icon in programme / source monitors). No way of viewing FRAMES there though.

You can get a TIMECODE list of source ins/outs if you export an EDL.

But, having played around with the timecode generator effect, I may be seeing the problem you have… it does not correctly reflect the source frame numbers of speed adjusted clips in either ‘clip’ or ‘media’ mode (it also affects the underlying frame shown in a speed change – which is surely a bug)

You’ll probably be best trying to find an XML parser that will give you the information you want.

(Avid is much better if you need to deal with frame numbers.)

[Trevor Asquerthian]

In CC2015 – which is the only thing I have loaded at the moment, but does work for some earlier versions:

In New sequence dialogue, when choosing a preset, select the ‘tracks’ tab.

You want to master to ‘multichannel’ and choose ‘4’ channels

Make A1-A4 ‘mono’ set A1&2 to output to A1&A2 and A3&A4 to output to A3&A4. Pan odds to left and evens to right.

(optionally save a preset)

Click OK – you now have a 4 discrete track timeline where, for example, anything on A3 will output to A3.

Now select a source clip (assuming 4 track source). Right click and ‘modify | audio channels’

Choose ‘mono’ and enter ‘4’ in number of audio clips

(optionally save a custom preset)

Click OK

Drag/Edit clip into timeline – voilà! the languages will play out of different speakers (and you likely won’t hear A3 and A4 unless you select ‘monitor all channels’, above the master fader, in the audio track mixer).

If you got this far, and it works, then you will still need to modify your export settings to be 4 channel – it all defaults to stereo