[Uli Kunkel]

Tried relinking in Avid by choosing the “TAPE” column and it didn’t work.

My colorist friend who works in Resolve says that EDLs relink in Resolve, but never perfectly. A clip will have the wrong INS-OUTS for example.

Will try relinking in Avid again, but I don’t think that will work. Anyone ever done a Resolve workflow via Avid EDL?

[Uli Kunkel]

Thanks for the reply. I appreciate your candor.

I think I understand the Event browser. It’s sort of like your “Source” window in Avid, only it shows all of your clips, right? The fundamentals here are still the same. Set IN point. Set OUT point. Put clips into timeline. Correct?

I asked about MultiGrouping bc I work in reality TV. We have to have it in our workflow. Big shows can’t live without it. So if there is some way to emulate that in FCPX that would be amazing.

I take it from your response that there isn’t a way to do that?

[Uli Kunkel]

I actually just figured this out yesterday. Here’s what I did:

First, I created an action that resized the image to the size I wanted. It contained 2 steps: 1) Fit Image to, then 2) Canvas size.

This generated the images in the sizes I needed.

Then I created a big action that took the original image and added as many layers to it as I needed resized copies. So, if I needed a picture in 10 different sizes, I would add 10 layers in the action.

The next step in the action was to re-name all of those layers.

Then, Select the base layer. Run the first resize action (still recording the big long action).

The picture is resized. Brilliant. Cmd+A, Cmd+C.

Go to the History tab, and click back THREE (3) steps. This will put the image and canvas back to where it was before you ran the resize action.

Click on the first new layer you created. Cmd+V, paste in the resized image.

Click the base layer, and repeat these steps until you’ve made all the resized images you want.

Stop recording big action.

Then, turn off the base layer and choose File>Scripts>Export Layers as Files. Make sure you have “Trim Files” selected.

And, BOOM!. You got yourself resized image files.

[Uli Kunkel]

For some reason I’m unable to turn on motion blur for the layers in my credit roll comp. There’s just a dash through it. I can turn on in the PreComp though. Any ideas?

Uli

[Uli Kunkel]

Pretty sure it’s h264 as well. You can confirm that on the camera’s specs page on the website.

[Uli Kunkel]

P2 media is already in the mxf format. Canon footage is processor intensive h.264. So native mxf will play nicer with Avid.

[Uli Kunkel]

I don’t think so. I did a test last night with it using Media Composer 4.0.2. It worked.

Definitely a bug with 5.0.3. Looking at Avid forums, it appears that this is a bug they’re aware of.

Uli

[Uli Kunkel]

I’ve been prepping an edit for a pilot shot with HDV cameras, digitized into Final Cut Pro as HDV quicktimes. I was hoping that the AMA workflow would allow me to reference the HDV quicktime files. Unfortunately, performance is not sufficient for editing. I’m working off a 2-year-old 4-core Mac Pro with 6 GB of RAM. Basically, if the computer is running ANY other process, it affects AMA playback. While sometimes it plays back smoothly, it’s inconsistent thus insufficient for editing. Any stutter is unacceptable.

Import via AMA then transcode to HDV is what I’ve decided to do. I’ve done tests with R3Ds and ProRes quicktimes as well with identical results.

Unfortunately Avid has sold a feature that isn’t up to snuff yet.

Hope this helps.

Uli

[Uli Kunkel]

[Jeremy Garchow] “It does not necessarily reflect the tc on the tape as FCP won’t pick up the tc if it changes in the middle of your capture, or if you lose a frame or two of tc numbers, or lose a minute or two. “

Actually, it should reflect the timecode on the tape. Without timecode accuracy, none of this editing stuff would work too well. And if there’s a break in the timecode, FCP/Kona stops the deck and creates a new clip.

[Jeremy Garchow] “So you are saying there are tc breaks? “

Yes, there are timecode breaks. They shot time-of-day, starting and stopping the camera.

[Jeremy Garchow] “What if during the shoot, the tc was reset by 17 seconds, or 1.5 minutes? If a clip was reviewed in camera and then reset improperly, or reset properly but not to the end frame of the last take, your tc is not necessarily continuous on the tape. “

That never happened. It’s a reality show shoot. No shots were reviewed. They shot the tape and threw it in their bag as fast as they could reload.

[Jeremy Garchow] “It’s never your own fault, is it?”

The whole reason I started this thread was to explore the possibility that I WAS doing something wrong. I said this in my first post.

[Jeremy Garchow] “This is really easy to check. Go to the end of end of your capture now sessions in FCP. Now take the corresponding tape and fast forward to the end of the tape. Look at the tc in FCP, and compare that to the tc on the tape. Do they match?”

I will check and report back and also try the log and capture method.

[Jeremy Garchow] “Was the audio recorded in one long continuous clip that matches each tape?”

Yes.

[Uli Kunkel]

So are you saying that if I had logged and captured the clips on the tape then the timecode would have matched up with the sound?

I don’t understand. The timecode on the tape is the timecode on the clip is it not? Also, to account for pre- and post-roll, I’ll have to lost 3 seconds on the head and tail of each clip. Further, FCP/Kona loses track of where on the tape it is when there are all kinds of timecode breaks. Logging and capturing would be pretty much impossible.

And again, even if the cadence were interrupted or offset by digitizing with Capture Now, it wouldn’t be 17 seconds or a minute and a half off.

People capture entire tapes at once all the time. It’s the fastest and most efficient way to do it.

I’m still convinced that this is an issue with how the sound was recorded.

Thank you for your advice though.

Uli