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Avid Media Composer - Mac
Forum for advanced Media Composer Mac users.
  • Workflow for multi-formats advice

    I have a show that was shot mostly in 4k, both DCI and UHD. Partially in 1920x1080, and will also have both HDV and SD DVCPRO50 anamorphic footage.

    I want to cut the show in 1920x1080 DNxHR HQ. At the end I want to also conform the show in 4k.

    ! have a 32TB array for the HD and a 72 for the 4K, my thought to source link and transcode all the ftg to both at the outset.

    How do I do this so when I am ready to conform to the 4K I can just easily switch arrays and the project ses the same show, only in 4K (i.e. uses the HD was a proxy).

    How do I ensure that if I have to go back to camera orginal, it will relink and find it easily?

    Do I need all the camera orignal on its own array?

    Do all the arrays have to be named the same and only one connected at a time?

     

    Thank you

     

  • Simple navigation question

    MC 2018.12.9

    I may be having a senior moment here.

    I have made a string out of lots of clips.  When I put my string out in the Source window to edit from, I would like to be able to type in a source TC (generally on V1 of the stringent) and have Avid go to that place.  This does not work.  To be fair, there MIGHT be clips with the same source TC in the stringout.

    I have tried making sure the TC windows above the Source window are both on Source V1.  This does not help.  The only TC I can enter and navigate to is the TC of the string out sequence.

    For some reason I seem to remember this working the way I want in previous versions.  But I would not swear to this.

    Can anyone confirm or deny my memory?

    Thanks,

    Jef 

  • AAF for sound mix from seq. with synced subclips - audio metadata lost

    Hello!

     

    What might be the reason for Media Composer to lose all audio metadata when exporting audio-only AAF files from a sequence that has been edited using synced subclips?

     

    Here's how I usually work:

    FIrst, original audio media from Sound Devices recorder is imported in Media Composer project via generic old-school import. I have also tried linking the audio files and consolidating them into project and there doesn't seem to be any difference nowadays (I remember there used to be many MC versions ago, but not anymore). When brought into MC project, regardless of input method all recorder metadata shows up in Avid bin.

    Then everything is being synced to video clips via AutoSync (sometimes manually with clapper, usually automatically with timecode) and only the recorded guide/mix audio track from recorder is chosen to be added to synced subclips (so that editor does not have to deal with all iso tracks during editng process). After creation of subclips, they seem to have the same audio metadata as the original master clips (at least I see everything in Avid bin).

     

    Here's where the problem starts:

    After editing is done, I'm exporting AAF file for sound mix (mix usually is done in Pro Tools). In Pro Tools sound mixer is trying to perform so called "Field Recorder Workflow" where he tries to link all iso tracks (from original sound recorder Wave files) back to used timeline clips with help of metadata from guide track, but he cannot do it because no recorder metadata is present in AAF.

    I've tried several AAF export methods: all used audio media is being consolidated in their full durations; all used audio is trimmed with handles; all audio media is embedded in AAF; all audio media is placed in a separate folder. In all combinations AAF seems to lose all audio metadata (except for the source timecodes). At least Pro Tools is not seeing anything.

    What is strange - when I have exported AAF with trimmed media from Media Composer, all the pile of newly generated audio clips that have showed up in the Avid bin (clip names ending with ".new") have all metadata visible in Avid bin. So I assume all the metadata is there but for some reason this metadata is simply not being transfered to the resulting AAF file.

     

    My workaround usually is doing a semi-manual relinking of the edit sequence audio tracks to original imported unsynced audio master clips (the same ones used for creating synced subclips) and this sometimes take a lot of time and has be checked everytime, since sometimes Avid relinks to wrong clips that have the same timecodes (i.e. audio clips recorded at the same time of day in another shooting day).

    After I have relinked everything to master audio clips, AAF exported from this new & relinked sequence has all metadata preserved in it, and the Field Recorder Workflow can be performed seamlessly in Pro Tools. And it doesn't even matter what method has been used for AAF export in this case - consolidating full durations, consoldidating with trimming, embedding audio media in AAF or audio media placed in a separate folder - it works always and all metadata is preserved.

     

    I believe that there must be something I'm doing wrong but I cannot figure out what exactly. All synced subclips seem to carry all audio metadata in Media Composer and in my understanding exporting an AAF file directly from a sequence that has been edited using subclips should work. Otherwise it just seems absurd to me that after cut is finished with subclips, relinking to master clips must be done before bringing it to audio mix.

    This has been tested in many versions of Media Composer (starting from, I guess, v8.x), in many versions of Pro Tools (starting from v10.x) and with audio recordings from several recorders (mainly different models of Sound Devices) and it has always been the same every time with any combination or Media Composer versions, Pro Tools versions and sound recorder models.

     

    What am I doing wrong?

     

    Thanks!

  • Linking to original camera media: managing filepaths

    Hi:

    I've done my best to search out this answer but have not had success. Over to the community..

    I have finished (picture-locked) a 20-min sequence and the producer is ready to send it to a colorist for CC in DaVinci. For my edit, I had imported all of the 4K camera footage (from Sony A7II cameras), transcoding to DNxHR. Everything is working fine; the clips in my sequence link to those DNxHR files which are located in the Avid MediaFiles subfolders.  The original camera files are in their original filepath structure (e.g. .../ProductionTitle/ShootingDay1/Camera1 + filename.m4v) and stored intact on 3 hard drives: the producer's, the colorist's and mine. My next step is to create a sequence that refers to the original 4K footage, then export an AAF file for the colorist. I have been reading great resources on how to do this, but I have some complicating constraints.

    1. The sequence uses several hundred clips, currently located in about a dozen bins (one bin for each scene). The instructions I'm seeing seem to involve moving all source clips into one bin, I don't want to destroy my clip organization in their current bins. 

    2. The cameras (all the same model) used the same file-naming conventions as each other, so there are duplicate filenames (e.g. C0021.m4v) that refer to different pieces of media from different sources. The way to tell them apart is by the filepath: .../Day1/Camera1/C0021 vs .../Day1/Camera2/C0021.m4v

    3. The metadata for each clip (when I see them in my bin columns) correctly point to the right filepath for each camera file. But those filepaths all begin from the root directory of the producer's hard drive, from which I had originally imported the media.  I have the same path structure on my drive, but I start from a different root: MyDrive'sName/Client'sName/... So I suspect that the metadata for the clips need to be nodified to point to my root directories before they follow the rest of the filepath.  

    4. This is my first time messing around with breaking links, relinking, or even AMA linking (as it used to be known). The worst thing would be for me to mess things up in a way that makes the sequence unplayable!   

     

    Thanks so much for your help with this,

     

    aRV

     

  • Avid 2019.8 not showing all user settings

    I'm trying to add some keyboard shortcuts and while this video...

    https://youtu.be/osAmlEPZGpA

    ... shows that you need to go into File/Settings -> User to open the editable keyboard when I open mine all I get are audio and import settings, not the long list of settings that usually houses your keyboard settings.

    Can someone please point me in the right direction?

  • Subcap - exporting a single video track

    Is there a way to export subcap titles only from one specific video track?

    When I export my English Subs from V6, I'm also getting extra text from subcap generators that are on V1-5.

    Any ideas?

     

    I've been reading the forums but can't seem to find a definitive answer.

     

    p.s. I'm aware that there is a work-around whereby I duplicate my sequnce, delete all other tracks, and then make the export. My question is about whether or not I can select a specific track from my main sequence, without going through this extra step.

     

    Thanks, 

     

    Media Composer v. 2018.12.7.

    Mac Pro (Mid 2010), OSX 10.11.6
    2 x 2,66 GHz 6-Core Intel Xeon, 24 GB 1333 MHz DDR3 ECC, ATI Radeon HD 5770 1024 MB

    p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 11.0px 'Helvetica Neue'}

    p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 11.0px 'Helvetica Neue'}

    p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 11.0px 'Helvetica Neue'}

  • Applied Computer Systems 'SoftLink for Mac' anyone?

    We are looking to purchase and install a lab monitoring software package in our editing lab. Has anyone used SoftLink for the Mac from Applied Computer Systems?  Any other recommendations or warnings?

    Thanks!

  • Auto Audio Syncing Linked Clips in MC 8.9.1 ?

    Hi Editors:

                     Recently upgraded my MC to version 8.9.1, because this is the point where Avid supported AMA Generically, with a nasty little Mp4 codec called Sony XAVC-"S" flavor, which nothing I can find is compatible with, yet is essential for our post workflow when we keep getting handed footage out of SONY mirrorless DSLR cameras all the time now in Ultra HD 4K resolution using this codec. The codec itself looks great and is capable of both 8 and 10 bit colour precision at 50 or 100 Mb data rate, but still only in 4:2:0 colour space thus far. My question is can dynamically linked clips be used by MC's auto-sync audio feature, or must they be imported first ? My apologies if this issue has already been covered.

    Sincerely,

    Laptopeditor

  • Would like to relink multiple bins of AMA using Source Browser

    I have 20 bins of AMA footage that is offline. I know how to relink the footage using Input>Source Browser, then point to the files. But I would really rather not have to repeat these steps for every bin. Is there a way around this?

     

    Thanks.

  • Audio Start-Time Options question

    Hi all,

    I'm preparing a unique project with archival audio sound rolls from the 1980s having recently been digitized.  The project and film scans will be in 23.98 fps.  When importing the WAV files for the digitized sound rolls I am prompted to set the start TC with the "Audio Start-Time Options" dialog box.  I have set 23.98 since that is the project fps and the timecode on the WAV files does not correspond to anything meaningful.  But obviously the sound was recorded in the 24fps film era.

    I just wanted to verify with the community that the different Audio Start-Time Options do not alter the character of the sound in any way at all, right?  I have compared a 23.98 start time vs. 24 and the waveforms appear identical except the 24 waveform is slipped/offset by about half a frame compared to the 23.98.  I thought this was unusual and wanted to make sure the sound is not affected by either decision.

    Thank you in advance to everyone for any thoughts.

    Best,
    Bret

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