Saturday, June 19, 2010

[Avid-L2] Archiving Short Form Projects onto Blu-ray Discs

Full Disclosure: I've cross-posted this on the Avid Forum -- so please disregard it there.


I will be working on a very large number of short form projects over a period of years that will need to be archived for possible future revision. The chances of a revision are low -- but definitely not zero.

As I work on these project, I plan on keeping my AvidMediaFile folders segregated -- so that only one project's media is ever stored in any one AvidMediaFile folder. And I'd like to archive these projects individually -- not as a group.

These completed project archives would definitely fit on 25GB or 50GB Blu-ray Discs. And the shelf life requirements of these archives are very finite -- after 2-3 years there will be no reason to hang on to the archive.

So I was thinking that for the price and relative stability of BD-R discs -- I should consider archiving onto this format.

I know there are potential issues with optical discs regarding the number of directory levels -- which I don't think would be a problem with the AvidMediaFile folder. And I believe there might be some issues with optical discs using ISO9660 versus UDF -- and "Allowing Files That Exceed Size Limits". At the same time, I am under the impression that those issues are more related to CD and DVD discs -- rather than Blu-ray Discs.

Can anyone think of a reason why I would not want to archive my Avid Projects, AvidMediaFile Folders and other miscellaneous job-related files onto Blu-ray discs?


Thanks for your input.

------------------------------------

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[Avid-L2] Re: 2997 to 2398

Michael,
Curious about the step you mention about conversion. On my MC 5 I can't just open the 30I sequence (29.97) in the 23.98 project because it has matte keys and it won't make the mixdowns necessary while in the HD 1080P 23.976 project. I am prompted to go back to the 30I project and do the modification there and it will create the needed mix downs. I guess what you suggest would work if there were no matte keys or imports that require a mix down. Once I do that then I can proceed as I already outlined. I think the glitch I see here is that if I don't have the offline media on hand I can't transcode the clips to the new project rate of 23.976 and I'm still stuck with 30F code in the Start TC. It seems modifying the sequence from 30I matchback to HD 23.976 1080P does not move the TC 24 into the start tc of the clips like it should. I believe that's when you told me the source TC gets converted from 30F to 24F but if I look at the modified sequence before transcoding I have 30F start tc and nothing in the TC 24 column. Once transcoded I still have no tc 24 data but the start time code is then 24F. When I look at the bin with the 30I matchback sequence it has both start tc 30F and TC 24 (which was created when I duplicated the start tc column.) Would I be correct in assuming the glitch or part of it is that the start tc remains 30F after modifying the original 30I match back sequence to HD 23.976 1080P? Sure seems like that isn't right to me but I've always used the edl method in the past so I really have only modified NTSC 23.976 projects in the past with success when onlining in HD. Pretty far out Friday night/ Sat morning for me.

Does it make sense that no motion adapters were created in this process? I guess this is correct given I modified the seq to HD 23.976 1080P before cutting it into a new hD timeline.

--- In Avid-L2@yahoogroups.com, "phillipsm" <michael_phillips@...> wrote:
>
> Greg -
>
> in v4, the Mix and match feature took out the "sequence frame rate conversion" method for some reason. These are two very different workflows of which one does not enable the other in many situations.
>
> The feature was brought back in v5 and when opening the 29.97 sequence in your 23.976 project, you do get the option for the sequence conversion. But if your original 29.97 sequence contains clips that were original mix & match, then it won't work.
>
> You can also go back to a 3.x build to do the conversion. What I don't know is if that fix was added to the most recent 4.x or if it is only in v5.
>
> I still need to look into the transcode message, although I understand what's it's saying, I need to check with engineering and QA as to all the situations this may apply and effect on metadata.
>
> Michael
>
> --- In Avid-L2@yahoogroups.com, Greg Huson <Greg@> wrote:
> >
> > I'm conforming a feature that was done all 29.97 - but the original is
> > 23.98. I haven't had this combo recently - in the past, the method
> > was to create a 23.98 edl from the 24p column.
> >
> > Is there a newer, better, more efficient, not-involving and EDL
> > method? Offline source was 23.98, captured as 29.97.
> >
> > Anything better than the EDL method? I'm poking around the internet
> > and help files, but the 'L' is often faster!
> >
> > gh
> > ----------------------------------------------------
> > Greg Huson
> > Secret Headquarters, Inc
> > Post Production / Production
> > Culver City, CA
> > 323 677 2092
> > 323 677 2096 F
> > www.DigitalServiceStation.com
> > greg (at) SecretHQ.com
> > www.SecretHQ.com
> >
> >
> >
> >
> >
> > [Non-text portions of this message have been removed]
> >
>


------------------------------------

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RE: [Avid-L2] Re: 1080p to Standard DVD Workflow Trouble

O.K. Thanks Oliver. I'll continue my tests with that info in mind.

Les Nagy

Maladaahn

708.516.6505

lnagy@maladaahn.com

www.maladaahn.com

From: Avid-L2@yahoogroups.com [mailto:Avid-L2@yahoogroups.com] On Behalf Of
oliverpetersvidy
Sent: Saturday, June 19, 2010 8:07 PM
To: Avid-L2@yahoogroups.com
Subject: [Avid-L2] Re: 1080p to Standard DVD Workflow Trouble

> Les Nagy wrote:
> The thing I'm really trying to figure out is if I export uncompressed
1080p
> 23.976, in Sorenson, what frame rate do I set for compression? Do I have
to
> select some form of pulldown so the dvd player knows to play 23.976p?

DVD players can handle 24fps files. Not all authoring apps can deal with
24fps files and not all encoders can create compliant 24fps files. For
example, Compressor and BitVice can create 480i/23.98 MPEG2 (.m2v) files
that work in Apple DVD-SP. I have been unable to use 24fps files in Adobe
Encore. When a DVD player plays a 24fps DVD, it will automatically add the
pulldown.

- Oliver

[Non-text portions of this message have been removed]

------------------------------------

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[Avid-L2] Re: 1080p to Standard DVD Workflow Trouble

> Les Nagy wrote:
> The thing I'm really trying to figure out is if I export uncompressed 1080p
> 23.976, in Sorenson, what frame rate do I set for compression? Do I have to
> select some form of pulldown so the dvd player knows to play 23.976p?

DVD players can handle 24fps files. Not all authoring apps can deal with 24fps files and not all encoders can create compliant 24fps files. For example, Compressor and BitVice can create 480i/23.98 MPEG2 (.m2v) files that work in Apple DVD-SP. I have been unable to use 24fps files in Adobe Encore. When a DVD player plays a 24fps DVD, it will automatically add the pulldown.

- Oliver

------------------------------------

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RE: [Avid-L2] 1080p to Standard DVD Workflow Trouble

The thing I'm really trying to figure out is if I export uncompressed 1080p
23.976, in Sorenson, what frame rate do I set for compression? Do I have to
select some form of pulldown so the dvd player knows to play 23.976p?

Les Nagy

Maladaahn

708.516.6505

lnagy@maladaahn.com

www.maladaahn.com

From: Avid-L2@yahoogroups.com [mailto:Avid-L2@yahoogroups.com] On Behalf Of
Les Nagy
Sent: Saturday, June 19, 2010 6:07 PM
To: Avid-L2@yahoogroups.com
Subject: RE: [Avid-L2] 1080p to Standard DVD Workflow Trouble

Thanks Job!

I figured it would be downsized for standard DVD anyway, so I thought 720p
was fine. So is it best to export uncompressed 1080p and then compress to
MPG2 in Squeeze? Do I export at 23.976 and compress to 24 or does it have to
stay 23.976?

Les Nagy

Maladaahn

708.516.6505

lnagy@maladaahn.com <mailto:lnagy%40maladaahn.com>

www.maladaahn.com

From: Avid-L2@yahoogroups.com <mailto:Avid-L2%40yahoogroups.com>
[mailto:Avid-L2@yahoogroups.com <mailto:Avid-L2%40yahoogroups.com> ] On
Behalf Of
Job ter Burg (L2B)
Sent: Saturday, June 19, 2010 5:29 PM
To: Avid-L2@yahoogroups.com <mailto:Avid-L2%40yahoogroups.com>
Subject: Re: [Avid-L2] 1080p to Standard DVD Workflow Trouble

"Les Nagy" (19-06-2010 23:05) :

> I've exported as uncompressed QT, 23.976, 601 Color, 1920x1080p, and
> compressed in Squeeze to MPG2, 1280x720, 29.97, 16:9, Bottom Field First,
24
> I Frames, 1 Pass CBR, 10,000 Data Rate. And I've tried various combos of
> these settings.

I've done 1080/24.00p in Squeeze and that looked excellent.

I don't see why you choose 1280x720 in Squeeze. There should be a preset for
1920x1080/23.976p. In that preset, make sure to go to the advanced video
settings and select the option "Video is already 16-235" or something along
those lines.

--
Job ter Burg
film editor - NL

[Non-text portions of this message have been removed]

[Non-text portions of this message have been removed]

------------------------------------

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Re: [Avid-L2] Re: 2997 to 2398

Decomposing the sequence before copying the timecode into the 24tc
column and creating the EDL solved the problem I was having with 24tc
not being correct. Hope this helps someone else in the future!

gh
----------------------------------------------------
Greg Huson
Secret Headquarters, Inc
Post Production / Production
Culver City, CA
323 677 2092
323 677 2096 F
www.DigitalServiceStation.com
greg (at) SecretHQ.com
www.SecretHQ.com

On Jun 19, 2010, at 8:55 AM, Greg Huson wrote:

> Did that, exactly as youve detailed- that's the way I've always done
> it in the past. The new sequence didn't match the roughcut. Not even
> close.
>
> I'll try it again today, and just go a little slower! This was all
> on a 5x system, but I have one system still running 3.x, so I'll try
> it there, too, as MP suggests.
>
> Thanks Terry, John, and Michael for the help.
>
> Greg (at) secrethq.com
> Greg Huson
> Secret Headquarters, Inc
> www.DigitalServiceStation.com
> www.SecretHQ.com
> iPhone
>
> On Jun 19, 2010, at 6:54 AM, "Terence Curren" <tcurren@aol.com> wrote:
>
> > The EDL method still works as I did it recently. In a matchback
> > enabled 30 frame project, open you bin with the sequence in it. Turn
> > on sources and show reference clips in bin display.
> >
> > Now select the start TC column in the bin and hit CTRL + D (CMD + D
> > Mac) and select 24 TC as the place to copy to. This gives all your
> > clip a 24 frame TC.
> >
> > Now open EDL manager, select 24TC as the TC for both sources and
> > timeline. Now open the bin with your sequence in it and load the edl
> > from your sequence. This gives you an EDL with 24 frame TC.
> >
> > Now is a tricky step, you have to save that EDL to disk, then reload
> > it in EDL manager to create a sequence. So...
> >
> > Save the EDL to disk. Open it in EDL manager. In MC, open your 23.98
> > project and have a destination bin open. Back in EDL manager, do a
> > "Create Composer Sequence" and it will ask you a few dialogues about
> > the type of sequence to make, then it will offer the destination
> > folder you have opened in MC. Then it creates a sequence in that bin
> > in MC.
> >
> > --- In Avid-L2@yahoogroups.com, Greg Huson <Greg@...> wrote:
> > >
> > > Interesting. I couldn't go that route because I don't have
> original
> > > offline media-it's a match-back kind of deal. Did 'turbo trace' by
> > > hand, essentially. I spent a couple hours trying to use the edl
> > > method, which used to be straight forward, but that didn't work
> > > correctly, either.
> > >
> > > I'll figure it out tomorrow. If mr Phillips happens to be reading
> > > tonight- anything new since what's publised on 24p.com?
> > >
> > > Incidentally, if you reformat the 2997 sequence to 2398, THEN make
> > > your edl, all the sources end up with speed changes in them, and
> the
> > > wrong outpoint. Wheee! It's been a while since I needed to do
> this,
> > > so I'm sure there's a simple step I've skipped. I hope.
> > >
> > > Greg (at) secrethq.com
> > > Greg Huson
> > > Secret Headquarters, Inc
> > > www.DigitalServiceStation.com
> > > www.SecretHQ.com
> > > iPhone
> > >
> > >
> > >
> > > On Jun 19, 2010, at 12:06 AM, "johnrobmoore" <bigfish@...>
> > > wrote:
> > >
> > > > Okay more has been revealed. I hooked up a camera so I could
> drag
> > > > clips into the capture tool. Doing this it appears the start
> > column
> > > > is the one that ends up used for capture so in this case it is
> 30
> > > > frame code and therefore doesn't seem like it would work for
> going
> > > > back to 23.98 original sources. Back to try a few more things.
> > > >
> > > > --- In Avid-L2@yahoogroups.com, "johnrobmoore" <bigfish@> wrote:
> > > > >
> > > > > Playing around a little more I find I get an invalid trim
> error
> > > > when I duplicate the start time code to the TC 24 column. Even
> > > > though the error happens it still copies the time code but for
> no
> > > > apparent reason many of the clips don't end up with TC 24
> > values. I
> > > > can't see a pattern to the missing values, sometimes it's
> right in
> > > > the middle of a captured interview tape. Taking the sequence at
> > this
> > > > point and decomposing it all the subsequent clips have values in
> > the
> > > > TC 24 but again the start time code is 30 frame code. So the
> > > > question still remains what will the avid use for batch capture?
> > > > >
> > > > > --- In Avid-L2@yahoogroups.com, "johnrobmoore" <bigfish@>
> wrote:
> > > > > >
> > > > > > I decided to play with this with an SD 30 show I offlined. I
> > > > first started in the 30I project and modified the seq to 23.98
> > which
> > > > created a few mixdowns for matte keys. I then made a 23.98
> project
> > > > and started a new sequence and cut the modified sequence into
> > it. I
> > > > then transcoded the sequence to 23.98. There is a warning
> > "Transcode
> > > > creates new clips that match the current project rate. Because
> the
> > > > new edit does not match the original clip, you cannot batch
> > capture,
> > > > batch import, relink or link (via AMA) to these new clips." I
> then
> > > > decomposed the sequence and ended up with offline clips that say
> > > > they are format 23.98 but the timecode in the start column is
> > still
> > > > 30frame. I can duplicate that into a TC 24 column but I'm not
> sure
> > > > what time code would be used in a batch capture. I don't have a
> > deck
> > > > to try and load one of the clips into the capture tool to see if
> > it
> > > > will get the 24 or 30 code for batch capture. It seems like
> > there is
> > > > still a need to somehow get the 24 frame code into the Start
> > column
> > > > so you could capture from the original 23.98 master tapes. My
> > > > understanding is in a traditional 23.98 NTSC offline to HD
> online
> > > > the process of modifying the offline sequence to HD 23.98
> > > > automatically changes the source codes to 24frame code not the
> 30
> > > > frame captured in offline. Perhaps Mr. Philips could shed some
> > light
> > > > on this.
> > > > > >
> > > > > > --- In Avid-L2@yahoogroups.com, "Terence Curren" <tcurren@>
> > wrote:
> > > > > > >
> > > > > > > Ready for fun???
> > > > > > >
> > > > > > > You can open your 29.97 sequence in a 23.98 project and
> Avid
> > > > converts everything. But....
> > > > > > >
> > > > > > > It keeps the sources as 29.97 with the motion effect
> applied
> > > > to make them 23.98.
> > > > > > >
> > > > > > > So, you now have two possible workarounds.
> > > > > > >
> > > > > > > 1: is to use a combination of the Avid conversion method
> and
> > > > EDL. In other words, do the EDL method and cut it over your
> > > > converted sequence on a higher track. Then you can lift effects
> > from
> > > > the converted sequence up to the EDL created shots. When done,
> > > > decompose and capture.
> > > > > > >
> > > > > > > 2: And I haven't tried this yet but it should work.
> > Transcode
> > > > your converted 23.98 timeline to changing the frame rate to
> 23.98.
> > > > Delete all that media, decompose and capture.
> > > > > > >
> > > > > > >
> > > > > > >
> > > > > > > --- In Avid-L2@yahoogroups.com, Greg Huson <Greg@> wrote:
> > > > > > > >
> > > > > > > > I'm conforming a feature that was done all 29.97 - but
> the
> > > > original is
> > > > > > > > 23.98. I haven't had this combo recently - in the past,
> > the
> > > > method
> > > > > > > > was to create a 23.98 edl from the 24p column.
> > > > > > > >
> > > > > > > > Is there a newer, better, more efficient, not-involving
> > and
> > > > EDL
> > > > > > > > method? Offline source was 23.98, captured as 29.97.
> > > > > > > >
> > > > > > > > Anything better than the EDL method? I'm poking around
> the
> > > > internet
> > > > > > > > and help files, but the 'L' is often faster!
> > > > > > > >
> > > > > > > > gh
> > > > > > > > ----------------------------------------------------
> > > > > > > > Greg Huson
> > > > > > > > Secret Headquarters, Inc
> > > > > > > > Post Production / Production
> > > > > > > > Culver City, CA
> > > > > > > > 323 677 2092
> > > > > > > > 323 677 2096 F
> > > > > > > > www.DigitalServiceStation.com
> > > > > > > > greg (at) SecretHQ.com
> > > > > > > > www.SecretHQ.com
> > > > > > > >
> > > > > > > >
> > > > > > > >
> > > > > > > >
> > > > > > > >
> > > > > > > > [Non-text portions of this message have been removed]
> > > > > > > >
> > > > > > >
> > > > > >
> > > > >
> > > >
> > > >
> > >
> > >
> > > [Non-text portions of this message have been removed]
> > >
> >
> >
>
> [Non-text portions of this message have been removed]
>
>
>

[Non-text portions of this message have been removed]

------------------------------------

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RE: [Avid-L2] 1080p to Standard DVD Workflow Trouble

Thanks Job!

I figured it would be downsized for standard DVD anyway, so I thought 720p
was fine. So is it best to export uncompressed 1080p and then compress to
MPG2 in Squeeze? Do I export at 23.976 and compress to 24 or does it have to
stay 23.976?

Les Nagy

Maladaahn

708.516.6505

lnagy@maladaahn.com

www.maladaahn.com

From: Avid-L2@yahoogroups.com [mailto:Avid-L2@yahoogroups.com] On Behalf Of
Job ter Burg (L2B)
Sent: Saturday, June 19, 2010 5:29 PM
To: Avid-L2@yahoogroups.com
Subject: Re: [Avid-L2] 1080p to Standard DVD Workflow Trouble

"Les Nagy" (19-06-2010 23:05) :

> I've exported as uncompressed QT, 23.976, 601 Color, 1920x1080p, and
> compressed in Squeeze to MPG2, 1280x720, 29.97, 16:9, Bottom Field First,
24
> I Frames, 1 Pass CBR, 10,000 Data Rate. And I've tried various combos of
> these settings.

I've done 1080/24.00p in Squeeze and that looked excellent.

I don't see why you choose 1280x720 in Squeeze. There should be a preset for
1920x1080/23.976p. In that preset, make sure to go to the advanced video
settings and select the option "Video is already 16-235" or something along
those lines.

--
Job ter Burg
film editor - NL

[Non-text portions of this message have been removed]

------------------------------------

Please donate to the Red Cross to help those in earthquake ravaged Chile: http://tinyurl.com/y8pgceq

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[Avid-L2] MC5 RED AMA to Avid DS - Workflow?

Anyone had much of a play with getting an MC5 RED AMA timeline into DS?

None of the 'smarter' metadata options (AMA or AFE) are available with
AMA-linked media, so as far as I could determine it would be necessary first
to transcode the sequence to an Avid media format before you could use
either of those methods.

I did a basic test with EDL as well - that worked, but it should be noted
that you cant 'send' the sequence to EDL Manager from within MC5, you
instead have to open the bin directly from within the EDL Manager (as the
send to option uses AAF to transfer the sequence to EDL Manager). I had to
use the 'File 16' format, as 'File 32' would include the _001 in the reel
name, which won't then match what DS creates when scanning source files.

Anyone else been playing with it.

--
Dylan Reeve
http://dylanreeve.com/


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Re: [Avid-L2] Red AMA is crippled

"george96321" (19-06-2010 22:32) :

> How could we convince Avid to at least include a crop function in the Source
> Settings?

By joining the feature request forum, and supporting that very request.

http://community.avid.com/forums/t/83640.aspx

Pretty sure that Avid is very much aware of the issue. That's not saying
they'll manage to overcome this in the near future, but they did say that
this is a first step.

--
Job ter Burg
film editor - NL

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Re: [Avid-L2] Red AMA is crippled

My glass is half full - I find the new "Reformat" ability in MC5 to be
really exciting as it seems pretty clear that it's the start of something
like resolution independance.

I'd never really expected that MC5 would be a finishing tool, although it
would be fine for most of the RED stuff I've done where reframing hasn't
been required.

On Sun, Jun 20, 2010 at 10:16 AM, Wes Plate <wes@automaticduck.com> wrote:

>
>
> On 6/19/10 1:32 PM, "george96321" <george96321@yahoo.com<george96321%40yahoo.com>>
> wrote:
>
> > Maybe the thinking is that its not a big deal. It is. A show stopper.
>
> Overreact much? While your thinking is certainly a good suggestion, Media
> Composer has NEVER been resolution independent. If you need resolution
> independence there are other tools that other that feature.
>
>
> --
> Wes Plate
> Automatic Duck, Inc.
> http://www.automaticduck.com
>
>
>

--
Dylan Reeve
http://dylanreeve.com/


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Re: [Avid-L2] 1080p to Standard DVD Workflow Trouble

"Les Nagy" (19-06-2010 23:05) :

> I've exported as uncompressed QT, 23.976, 601 Color, 1920x1080p, and
> compressed in Squeeze to MPG2, 1280x720, 29.97, 16:9, Bottom Field First, 24
> I Frames, 1 Pass CBR, 10,000 Data Rate. And I've tried various combos of
> these settings.

I've done 1080/24.00p in Squeeze and that looked excellent.

I don't see why you choose 1280x720 in Squeeze. There should be a preset for
1920x1080/23.976p. In that preset, make sure to go to the advanced video
settings and select the option "Video is already 16-235" or something along
those lines.


--
Job ter Burg
film editor - NL

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Re: [Avid-L2] Red AMA is crippled

On 6/19/10 1:32 PM, "george96321" <george96321@yahoo.com> wrote:

> Maybe the thinking is that its not a big deal. It is. A show stopper.

Overreact much? While your thinking is certainly a good suggestion, Media
Composer has NEVER been resolution independent. If you need resolution
independence there are other tools that other that feature.


--
Wes Plate
Automatic Duck, Inc.
http://www.automaticduck.com


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Re: [Avid-L2] Trial says it has expired prematurely

This happened to me during beta. The bin you're trying to access was
made in a trial version more than 30 days ago. Open that bin in a
licensed version, then close it, and you should be able to open it in
a trial version again. That worked for me. (the beta licensing is
software based, and there were a LOT of beta versions- at one point I
forgot to deauthorize, and using trial license was easier than bugging
avid to reset my software license.)

Greg (at) secrethq.com
Greg Huson
Secret Headquarters, Inc
www.DigitalServiceStation.com
www.SecretHQ.com
iPhone

On Jun 19, 2010, at 1:48 PM, "Barry" <barrylay@cableone.net> wrote:

> I downloaded MC 5 about 6 or 7 days ago as a trial version. Today I
> tried to find a Master Clip with the Media Tool and got an error
> message with choices of Debugger, Continue, Exit, etc. We all know
> that one.
>
> Avid closed down and I restarted it. When restarting Avid it says I
> have 23 days left on my trial, but when I try to use the Media Tool
> again another error message appears in a window saying "This trial
> has expired" and a button saying "Close all and Exit. Avid closes
> down again when I close that window. Avid will open again and it
> seems I can do most functions, but definitely not the Media Toll
> thingy.
>
> Has anyone had this also? Will the Avid trial end prematurely?
>
> Regards
>
> Barry Lay
>
>


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Re: [Avid-L2] Red AMA is crippled

The statement made at the MC5 road show is that this is only the first step. It will improve. They are very aware that we want to use 4K images at full res inside of an HD window. I don't see a show stopper. I see the show beginning. It isn't crippled - just not fully implemented. Half full / half empty scenario.

Curtis Nichols
Señor Editor
PCS Production Co.
Irving, Tx.
------------------
"Simplicity is the ultimate sophistication."
-- Leonardo da Vinci
------------------


________________________________
From: george96321 <george96321@yahoo.com>
To: Avid-L2@yahoogroups.com
Sent: Sat, June 19, 2010 3:32:59 PM
Subject: [Avid-L2] Red AMA is crippled

There is just no way to crop or zoom or pan Red footage in full resolution. The entire picture is scaled to HD.

Basically it rules out Avid as finish tool, since I need to reframe, crop and even pan on the Red original frequently. It is very necessary function. Back to the drawing board, Premier, After FX,... whatever.

Disappointment is severe. How could we convince Avid to at least include a crop function in the Source Settings? It's not that they are unaware of the issue... Maybe the thinking is that its not a big deal. It is. A show stopper.

[Non-text portions of this message have been removed]

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[Avid-L2] 1080p to Standard DVD Workflow Trouble

Hey L,

First time taking HD to standard DVD and I'm hoping to get some workflow
advice from the guys who know.

I'm in Xpress Pro HD 5.2.7 and Ulead DVD and I have a 1080p 23.976 sequence.
I need to burn it to a standard DVD.

I've tried exporting uncompressed and going to Squeeze and MPG2, and I've
also tried exporting MPG4 from Avid, but each time, trying various settings,
it looks bad on the DVD.

Can you recommend the workflow and settings to make this work? Should I be
exporting a particular frame size, frame rate and data rate? Compressing to
a particular frame size, frame rate and data rate?

I've exported as uncompressed QT, 23.976, 601 Color, 1920x1080p, and
compressed in Squeeze to MPG2, 1280x720, 29.97, 16:9, Bottom Field First, 24
I Frames, 1 Pass CBR, 10,000 Data Rate. And I've tried various combos of
these settings.

Any help is greatly appreciated.

Thanks,

Les

Les Nagy

Maladaahn

708.516.6505

<mailto:lnagy@maladaahn.com> lnagy@maladaahn.com

<http://www.maladaahn.com> www.maladaahn.com

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[Avid-L2] Trial says it has expired prematurely

I downloaded MC 5 about 6 or 7 days ago as a trial version. Today I tried to find a Master Clip with the Media Tool and got an error message with choices of Debugger, Continue, Exit, etc. We all know that one.

Avid closed down and I restarted it. When restarting Avid it says I have 23 days left on my trial, but when I try to use the Media Tool again another error message appears in a window saying "This trial has expired" and a button saying "Close all and Exit. Avid closes down again when I close that window. Avid will open again and it seems I can do most functions, but definitely not the Media Toll thingy.

Has anyone had this also? Will the Avid trial end prematurely?

Regards

Barry Lay

------------------------------------

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[Avid-L2] Red AMA is crippled

There is just no way to crop or zoom or pan Red footage in full resolution. The entire picture is scaled to HD.

Basically it rules out Avid as finish tool, since I need to reframe, crop and even pan on the Red original frequently. It is very necessary function. Back to the drawing board, Premier, After FX,... whatever.

Disappointment is severe. How could we convince Avid to at least include a crop function in the Source Settings? It's not that they are unaware of the issue... Maybe the thinking is that its not a big deal. It is. A show stopper.

-George

------------------------------------

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[Avid-L2] Re: Not supported: Apple has recently released OSX 10.6.4 (SL)

And people wonder why I always promote dual boot system drives for multi edit platform systems.

--- In Avid-L2@yahoogroups.com, "oliverpetersvidy" <oliverpeters@...> wrote:
>
> Just saw this posted over at REDuser (see below). Pertains to 10.6.4 and CS5.
>
> - Oliver
>
> ++++++++++++++++++++++++
>
> " I always allow an auto update of my OS X. Well, the last one (10.6.4) creates a severe performance interference with the any card that uses CUDA: The Mercury Engine does not work, so having one of those cards renders a seme level of performance as the non-CUDA cards.
>
> I found that a new GPU firmware is "available", precisely to fix such interference. However, the links located at NVIDIA website reports "No server found" whenever I try to download it (is the same driver for Quadro or GTX cards).
>
> Can someone with enough clout appeal to NVIDIA directly or via Adobe to have this stupid broken link to function, please? The renders are either as long as before, or within the first half hour it stops the transcoding and report en "Error". "
>


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[Avid-L2] Re: Not supported: Apple has recently released OSX 10.6.4 (SL)

Also related:

http://tinyurl.com/266ufz7

- Oliver

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[Avid-L2] Re: OT: You must be kidding....

> Curtis Nichols wrote:
> I'm okay with it as long as there are signs at the door
> indicating that it is a "mobile device interactive experience".

In Stereo3D!

- Oliver

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[Avid-L2] Re: Not supported: Apple has recently released OSX 10.6.4 (SL)

Just saw this posted over at REDuser (see below). Pertains to 10.6.4 and CS5.

- Oliver

++++++++++++++++++++++++

" I always allow an auto update of my OS X. Well, the last one (10.6.4) creates a severe performance interference with the any card that uses CUDA: The Mercury Engine does not work, so having one of those cards renders a seme level of performance as the non-CUDA cards.

I found that a new GPU firmware is "available", precisely to fix such interference. However, the links located at NVIDIA website reports "No server found" whenever I try to download it (is the same driver for Quadro or GTX cards).

Can someone with enough clout appeal to NVIDIA directly or via Adobe to have this stupid broken link to function, please? The renders are either as long as before, or within the first half hour it stops the transcoding and report en "Error". "

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Re: [Avid-L2] OT: You must be kidding....

I'm okay with it as long as there are signs at the door indicating that it is a "mobile device interactive experience". If I go in there without warning, there WILL be a refund.

Did you check out the Mu V Chat link (http://muvchat.com/)? Another I'm okay with as long as I'm warned. This for those idiots on the back row who already think the film is really about their "Bet-cha didn't see that coming!"comments.
But it's too bad that the movies are going towards this type of idiocracy. (Idiocracy (2006))

Curtis Nichols
Señor Editor
PCS Production Co.
Irving, Tx.
------------------
"Simplicity is the ultimate sophistication."
-- Leonardo da Vinci
------------------


________________________________
From: Terence Curren
Subject: [Avid-L2] OT: You must be kidding....

http://www.nytimes.com/2010/06/14/technology/14translate.html?ref=movies

[Non-text portions of this message have been removed]

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[Avid-L2] OT: You must be kidding....

http://www.nytimes.com/2010/06/14/technology/14translate.html?ref=movies

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Re: [Avid-L2] Re: 2997 to 2398

Did that, exactly as youve detailed- that's the way I've always done
it in the past. The new sequence didn't match the roughcut. Not even
close.

I'll try it again today, and just go a little slower! This was all
on a 5x system, but I have one system still running 3.x, so I'll try
it there, too, as MP suggests.

Thanks Terry, John, and Michael for the help.

Greg (at) secrethq.com
Greg Huson
Secret Headquarters, Inc
www.DigitalServiceStation.com
www.SecretHQ.com
iPhone

On Jun 19, 2010, at 6:54 AM, "Terence Curren" <tcurren@aol.com> wrote:

> The EDL method still works as I did it recently. In a matchback
> enabled 30 frame project, open you bin with the sequence in it. Turn
> on sources and show reference clips in bin display.
>
> Now select the start TC column in the bin and hit CTRL + D (CMD + D
> Mac) and select 24 TC as the place to copy to. This gives all your
> clip a 24 frame TC.
>
> Now open EDL manager, select 24TC as the TC for both sources and
> timeline. Now open the bin with your sequence in it and load the edl
> from your sequence. This gives you an EDL with 24 frame TC.
>
> Now is a tricky step, you have to save that EDL to disk, then reload
> it in EDL manager to create a sequence. So...
>
> Save the EDL to disk. Open it in EDL manager. In MC, open your 23.98
> project and have a destination bin open. Back in EDL manager, do a
> "Create Composer Sequence" and it will ask you a few dialogues about
> the type of sequence to make, then it will offer the destination
> folder you have opened in MC. Then it creates a sequence in that bin
> in MC.
>
> --- In Avid-L2@yahoogroups.com, Greg Huson <Greg@...> wrote:
> >
> > Interesting. I couldn't go that route because I don't have original
> > offline media-it's a match-back kind of deal. Did 'turbo trace' by
> > hand, essentially. I spent a couple hours trying to use the edl
> > method, which used to be straight forward, but that didn't work
> > correctly, either.
> >
> > I'll figure it out tomorrow. If mr Phillips happens to be reading
> > tonight- anything new since what's publised on 24p.com?
> >
> > Incidentally, if you reformat the 2997 sequence to 2398, THEN make
> > your edl, all the sources end up with speed changes in them, and the
> > wrong outpoint. Wheee! It's been a while since I needed to do this,
> > so I'm sure there's a simple step I've skipped. I hope.
> >
> > Greg (at) secrethq.com
> > Greg Huson
> > Secret Headquarters, Inc
> > www.DigitalServiceStation.com
> > www.SecretHQ.com
> > iPhone
> >
> >
> >
> > On Jun 19, 2010, at 12:06 AM, "johnrobmoore" <bigfish@...>
> > wrote:
> >
> > > Okay more has been revealed. I hooked up a camera so I could drag
> > > clips into the capture tool. Doing this it appears the start
> column
> > > is the one that ends up used for capture so in this case it is 30
> > > frame code and therefore doesn't seem like it would work for going
> > > back to 23.98 original sources. Back to try a few more things.
> > >
> > > --- In Avid-L2@yahoogroups.com, "johnrobmoore" <bigfish@> wrote:
> > > >
> > > > Playing around a little more I find I get an invalid trim error
> > > when I duplicate the start time code to the TC 24 column. Even
> > > though the error happens it still copies the time code but for no
> > > apparent reason many of the clips don't end up with TC 24
> values. I
> > > can't see a pattern to the missing values, sometimes it's right in
> > > the middle of a captured interview tape. Taking the sequence at
> this
> > > point and decomposing it all the subsequent clips have values in
> the
> > > TC 24 but again the start time code is 30 frame code. So the
> > > question still remains what will the avid use for batch capture?
> > > >
> > > > --- In Avid-L2@yahoogroups.com, "johnrobmoore" <bigfish@> wrote:
> > > > >
> > > > > I decided to play with this with an SD 30 show I offlined. I
> > > first started in the 30I project and modified the seq to 23.98
> which
> > > created a few mixdowns for matte keys. I then made a 23.98 project
> > > and started a new sequence and cut the modified sequence into
> it. I
> > > then transcoded the sequence to 23.98. There is a warning
> "Transcode
> > > creates new clips that match the current project rate. Because the
> > > new edit does not match the original clip, you cannot batch
> capture,
> > > batch import, relink or link (via AMA) to these new clips." I then
> > > decomposed the sequence and ended up with offline clips that say
> > > they are format 23.98 but the timecode in the start column is
> still
> > > 30frame. I can duplicate that into a TC 24 column but I'm not sure
> > > what time code would be used in a batch capture. I don't have a
> deck
> > > to try and load one of the clips into the capture tool to see if
> it
> > > will get the 24 or 30 code for batch capture. It seems like
> there is
> > > still a need to somehow get the 24 frame code into the Start
> column
> > > so you could capture from the original 23.98 master tapes. My
> > > understanding is in a traditional 23.98 NTSC offline to HD online
> > > the process of modifying the offline sequence to HD 23.98
> > > automatically changes the source codes to 24frame code not the 30
> > > frame captured in offline. Perhaps Mr. Philips could shed some
> light
> > > on this.
> > > > >
> > > > > --- In Avid-L2@yahoogroups.com, "Terence Curren" <tcurren@>
> wrote:
> > > > > >
> > > > > > Ready for fun???
> > > > > >
> > > > > > You can open your 29.97 sequence in a 23.98 project and Avid
> > > converts everything. But....
> > > > > >
> > > > > > It keeps the sources as 29.97 with the motion effect applied
> > > to make them 23.98.
> > > > > >
> > > > > > So, you now have two possible workarounds.
> > > > > >
> > > > > > 1: is to use a combination of the Avid conversion method and
> > > EDL. In other words, do the EDL method and cut it over your
> > > converted sequence on a higher track. Then you can lift effects
> from
> > > the converted sequence up to the EDL created shots. When done,
> > > decompose and capture.
> > > > > >
> > > > > > 2: And I haven't tried this yet but it should work.
> Transcode
> > > your converted 23.98 timeline to changing the frame rate to 23.98.
> > > Delete all that media, decompose and capture.
> > > > > >
> > > > > >
> > > > > >
> > > > > > --- In Avid-L2@yahoogroups.com, Greg Huson <Greg@> wrote:
> > > > > > >
> > > > > > > I'm conforming a feature that was done all 29.97 - but the
> > > original is
> > > > > > > 23.98. I haven't had this combo recently - in the past,
> the
> > > method
> > > > > > > was to create a 23.98 edl from the 24p column.
> > > > > > >
> > > > > > > Is there a newer, better, more efficient, not-involving
> and
> > > EDL
> > > > > > > method? Offline source was 23.98, captured as 29.97.
> > > > > > >
> > > > > > > Anything better than the EDL method? I'm poking around the
> > > internet
> > > > > > > and help files, but the 'L' is often faster!
> > > > > > >
> > > > > > > gh
> > > > > > > ----------------------------------------------------
> > > > > > > Greg Huson
> > > > > > > Secret Headquarters, Inc
> > > > > > > Post Production / Production
> > > > > > > Culver City, CA
> > > > > > > 323 677 2092
> > > > > > > 323 677 2096 F
> > > > > > > www.DigitalServiceStation.com
> > > > > > > greg (at) SecretHQ.com
> > > > > > > www.SecretHQ.com
> > > > > > >
> > > > > > >
> > > > > > >
> > > > > > >
> > > > > > >
> > > > > > > [Non-text portions of this message have been removed]
> > > > > > >
> > > > > >
> > > > >
> > > >
> > >
> > >
> >
> >
> > [Non-text portions of this message have been removed]
> >
>
>


[Non-text portions of this message have been removed]

------------------------------------

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[Avid-L2] Re: 2997 to 2398

Greg -

in v4, the Mix and match feature took out the "sequence frame rate conversion" method for some reason. These are two very different workflows of which one does not enable the other in many situations.

The feature was brought back in v5 and when opening the 29.97 sequence in your 23.976 project, you do get the option for the sequence conversion. But if your original 29.97 sequence contains clips that were original mix & match, then it won't work.

You can also go back to a 3.x build to do the conversion. What I don't know is if that fix was added to the most recent 4.x or if it is only in v5.

I still need to look into the transcode message, although I understand what's it's saying, I need to check with engineering and QA as to all the situations this may apply and effect on metadata.

Michael

--- In Avid-L2@yahoogroups.com, Greg Huson <Greg@...> wrote:
>
> I'm conforming a feature that was done all 29.97 - but the original is
> 23.98. I haven't had this combo recently - in the past, the method
> was to create a 23.98 edl from the 24p column.
>
> Is there a newer, better, more efficient, not-involving and EDL
> method? Offline source was 23.98, captured as 29.97.
>
> Anything better than the EDL method? I'm poking around the internet
> and help files, but the 'L' is often faster!
>
> gh
> ----------------------------------------------------
> Greg Huson
> Secret Headquarters, Inc
> Post Production / Production
> Culver City, CA
> 323 677 2092
> 323 677 2096 F
> www.DigitalServiceStation.com
> greg (at) SecretHQ.com
> www.SecretHQ.com
>
>
>
>
>
> [Non-text portions of this message have been removed]
>


------------------------------------

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Search the offical complete Avid-L archives at: http://archives.bengrosser.com/avid/

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[Avid-L2] Re: 2997 to 2398

The EDL method still works as I did it recently. In a matchback enabled 30 frame project, open you bin with the sequence in it. Turn on sources and show reference clips in bin display.

Now select the start TC column in the bin and hit CTRL + D (CMD + D Mac) and select 24 TC as the place to copy to. This gives all your clip a 24 frame TC.

Now open EDL manager, select 24TC as the TC for both sources and timeline. Now open the bin with your sequence in it and load the edl from your sequence. This gives you an EDL with 24 frame TC.

Now is a tricky step, you have to save that EDL to disk, then reload it in EDL manager to create a sequence. So...

Save the EDL to disk. Open it in EDL manager. In MC, open your 23.98 project and have a destination bin open. Back in EDL manager, do a "Create Composer Sequence" and it will ask you a few dialogues about the type of sequence to make, then it will offer the destination folder you have opened in MC. Then it creates a sequence in that bin in MC.

--- In Avid-L2@yahoogroups.com, Greg Huson <Greg@...> wrote:
>
> Interesting. I couldn't go that route because I don't have original
> offline media-it's a match-back kind of deal. Did 'turbo trace' by
> hand, essentially. I spent a couple hours trying to use the edl
> method, which used to be straight forward, but that didn't work
> correctly, either.
>
> I'll figure it out tomorrow. If mr Phillips happens to be reading
> tonight- anything new since what's publised on 24p.com?
>
> Incidentally, if you reformat the 2997 sequence to 2398, THEN make
> your edl, all the sources end up with speed changes in them, and the
> wrong outpoint. Wheee! It's been a while since I needed to do this,
> so I'm sure there's a simple step I've skipped. I hope.
>
> Greg (at) secrethq.com
> Greg Huson
> Secret Headquarters, Inc
> www.DigitalServiceStation.com
> www.SecretHQ.com
> iPhone
>
>
>
> On Jun 19, 2010, at 12:06 AM, "johnrobmoore" <bigfish@...>
> wrote:
>
> > Okay more has been revealed. I hooked up a camera so I could drag
> > clips into the capture tool. Doing this it appears the start column
> > is the one that ends up used for capture so in this case it is 30
> > frame code and therefore doesn't seem like it would work for going
> > back to 23.98 original sources. Back to try a few more things.
> >
> > --- In Avid-L2@yahoogroups.com, "johnrobmoore" <bigfish@> wrote:
> > >
> > > Playing around a little more I find I get an invalid trim error
> > when I duplicate the start time code to the TC 24 column. Even
> > though the error happens it still copies the time code but for no
> > apparent reason many of the clips don't end up with TC 24 values. I
> > can't see a pattern to the missing values, sometimes it's right in
> > the middle of a captured interview tape. Taking the sequence at this
> > point and decomposing it all the subsequent clips have values in the
> > TC 24 but again the start time code is 30 frame code. So the
> > question still remains what will the avid use for batch capture?
> > >
> > > --- In Avid-L2@yahoogroups.com, "johnrobmoore" <bigfish@> wrote:
> > > >
> > > > I decided to play with this with an SD 30 show I offlined. I
> > first started in the 30I project and modified the seq to 23.98 which
> > created a few mixdowns for matte keys. I then made a 23.98 project
> > and started a new sequence and cut the modified sequence into it. I
> > then transcoded the sequence to 23.98. There is a warning "Transcode
> > creates new clips that match the current project rate. Because the
> > new edit does not match the original clip, you cannot batch capture,
> > batch import, relink or link (via AMA) to these new clips." I then
> > decomposed the sequence and ended up with offline clips that say
> > they are format 23.98 but the timecode in the start column is still
> > 30frame. I can duplicate that into a TC 24 column but I'm not sure
> > what time code would be used in a batch capture. I don't have a deck
> > to try and load one of the clips into the capture tool to see if it
> > will get the 24 or 30 code for batch capture. It seems like there is
> > still a need to somehow get the 24 frame code into the Start column
> > so you could capture from the original 23.98 master tapes. My
> > understanding is in a traditional 23.98 NTSC offline to HD online
> > the process of modifying the offline sequence to HD 23.98
> > automatically changes the source codes to 24frame code not the 30
> > frame captured in offline. Perhaps Mr. Philips could shed some light
> > on this.
> > > >
> > > > --- In Avid-L2@yahoogroups.com, "Terence Curren" <tcurren@> wrote:
> > > > >
> > > > > Ready for fun???
> > > > >
> > > > > You can open your 29.97 sequence in a 23.98 project and Avid
> > converts everything. But....
> > > > >
> > > > > It keeps the sources as 29.97 with the motion effect applied
> > to make them 23.98.
> > > > >
> > > > > So, you now have two possible workarounds.
> > > > >
> > > > > 1: is to use a combination of the Avid conversion method and
> > EDL. In other words, do the EDL method and cut it over your
> > converted sequence on a higher track. Then you can lift effects from
> > the converted sequence up to the EDL created shots. When done,
> > decompose and capture.
> > > > >
> > > > > 2: And I haven't tried this yet but it should work. Transcode
> > your converted 23.98 timeline to changing the frame rate to 23.98.
> > Delete all that media, decompose and capture.
> > > > >
> > > > >
> > > > >
> > > > > --- In Avid-L2@yahoogroups.com, Greg Huson <Greg@> wrote:
> > > > > >
> > > > > > I'm conforming a feature that was done all 29.97 - but the
> > original is
> > > > > > 23.98. I haven't had this combo recently - in the past, the
> > method
> > > > > > was to create a 23.98 edl from the 24p column.
> > > > > >
> > > > > > Is there a newer, better, more efficient, not-involving and
> > EDL
> > > > > > method? Offline source was 23.98, captured as 29.97.
> > > > > >
> > > > > > Anything better than the EDL method? I'm poking around the
> > internet
> > > > > > and help files, but the 'L' is often faster!
> > > > > >
> > > > > > gh
> > > > > > ----------------------------------------------------
> > > > > > Greg Huson
> > > > > > Secret Headquarters, Inc
> > > > > > Post Production / Production
> > > > > > Culver City, CA
> > > > > > 323 677 2092
> > > > > > 323 677 2096 F
> > > > > > www.DigitalServiceStation.com
> > > > > > greg (at) SecretHQ.com
> > > > > > www.SecretHQ.com
> > > > > >
> > > > > >
> > > > > >
> > > > > >
> > > > > >
> > > > > > [Non-text portions of this message have been removed]
> > > > > >
> > > > >
> > > >
> > >
> >
> >
>
>
> [Non-text portions of this message have been removed]
>


------------------------------------

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Search the offical complete Avid-L archives at: http://archives.bengrosser.com/avid/

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[Avid-L2] Re: 2997 to 2398

Okay I think I got it to work but I think it is because I did have the offline media online. What Terry said for step 2 seems to work when I did the following:
1) Start with a 30I project
2) Create 30I Matchback Project and duplicate the original sequence
and then duplicate the start tc to TC 24 column.
3) Modify the sequence to 23.976 HD 1080P (This was what I missed in
previous attempts because I was going to NTSC 23.98 which only
supports 30 frame source code, I think). Created a new 23.976
1080P project and copied this sequence into a bin in the new
project At this point revealing ref clips shows clips with Start
TC 30F and TC 24 24F code. TC1 for the source clips is still 30F
4) Duplicated sequence to a new bin and transcoded to 23.976 1080P
project rate. At this point the trancoded clips have no TC 24
but the Start TCs for transcoded clips are 24F. Source TC1 is 24F
5) Created a new bin and duplicated the transcoded sequence in it.
Decomposed the sequence and ended up with new video master clips
offline with no TC 24 but start TC 24F code (except for audio
clips which still have 30F start code and TC 24 values.) Source
TC1 is 24F

This seems to have worked as best I can tell. Greg you seem to be correct that without the offline media to transcode this wouldn't work. That seems the only way to get the start column time code to be 24F. I'll play around some more without the offline media to see if there is a way to fool the process.

--- In Avid-L2@yahoogroups.com, Greg Huson <Greg@...> wrote:
>
> Interesting. I couldn't go that route because I don't have original
> offline media-it's a match-back kind of deal. Did 'turbo trace' by
> hand, essentially. I spent a couple hours trying to use the edl
> method, which used to be straight forward, but that didn't work
> correctly, either.
>
> I'll figure it out tomorrow. If mr Phillips happens to be reading
> tonight- anything new since what's publised on 24p.com?
>
> Incidentally, if you reformat the 2997 sequence to 2398, THEN make
> your edl, all the sources end up with speed changes in them, and the
> wrong outpoint. Wheee! It's been a while since I needed to do this,
> so I'm sure there's a simple step I've skipped. I hope.
>
> Greg (at) secrethq.com
> Greg Huson
> Secret Headquarters, Inc
> www.DigitalServiceStation.com
> www.SecretHQ.com
> iPhone
>
>
>
> On Jun 19, 2010, at 12:06 AM, "johnrobmoore" <bigfish@...>
> wrote:
>
> > Okay more has been revealed. I hooked up a camera so I could drag
> > clips into the capture tool. Doing this it appears the start column
> > is the one that ends up used for capture so in this case it is 30
> > frame code and therefore doesn't seem like it would work for going
> > back to 23.98 original sources. Back to try a few more things.
> >
> > --- In Avid-L2@yahoogroups.com, "johnrobmoore" <bigfish@> wrote:
> > >
> > > Playing around a little more I find I get an invalid trim error
> > when I duplicate the start time code to the TC 24 column. Even
> > though the error happens it still copies the time code but for no
> > apparent reason many of the clips don't end up with TC 24 values. I
> > can't see a pattern to the missing values, sometimes it's right in
> > the middle of a captured interview tape. Taking the sequence at this
> > point and decomposing it all the subsequent clips have values in the
> > TC 24 but again the start time code is 30 frame code. So the
> > question still remains what will the avid use for batch capture?
> > >
> > > --- In Avid-L2@yahoogroups.com, "johnrobmoore" <bigfish@> wrote:
> > > >
> > > > I decided to play with this with an SD 30 show I offlined. I
> > first started in the 30I project and modified the seq to 23.98 which
> > created a few mixdowns for matte keys. I then made a 23.98 project
> > and started a new sequence and cut the modified sequence into it. I
> > then transcoded the sequence to 23.98. There is a warning "Transcode
> > creates new clips that match the current project rate. Because the
> > new edit does not match the original clip, you cannot batch capture,
> > batch import, relink or link (via AMA) to these new clips." I then
> > decomposed the sequence and ended up with offline clips that say
> > they are format 23.98 but the timecode in the start column is still
> > 30frame. I can duplicate that into a TC 24 column but I'm not sure
> > what time code would be used in a batch capture. I don't have a deck
> > to try and load one of the clips into the capture tool to see if it
> > will get the 24 or 30 code for batch capture. It seems like there is
> > still a need to somehow get the 24 frame code into the Start column
> > so you could capture from the original 23.98 master tapes. My
> > understanding is in a traditional 23.98 NTSC offline to HD online
> > the process of modifying the offline sequence to HD 23.98
> > automatically changes the source codes to 24frame code not the 30
> > frame captured in offline. Perhaps Mr. Philips could shed some light
> > on this.
> > > >
> > > > --- In Avid-L2@yahoogroups.com, "Terence Curren" <tcurren@> wrote:
> > > > >
> > > > > Ready for fun???
> > > > >
> > > > > You can open your 29.97 sequence in a 23.98 project and Avid
> > converts everything. But....
> > > > >
> > > > > It keeps the sources as 29.97 with the motion effect applied
> > to make them 23.98.
> > > > >
> > > > > So, you now have two possible workarounds.
> > > > >
> > > > > 1: is to use a combination of the Avid conversion method and
> > EDL. In other words, do the EDL method and cut it over your
> > converted sequence on a higher track. Then you can lift effects from
> > the converted sequence up to the EDL created shots. When done,
> > decompose and capture.
> > > > >
> > > > > 2: And I haven't tried this yet but it should work. Transcode
> > your converted 23.98 timeline to changing the frame rate to 23.98.
> > Delete all that media, decompose and capture.
> > > > >
> > > > >
> > > > >
> > > > > --- In Avid-L2@yahoogroups.com, Greg Huson <Greg@> wrote:
> > > > > >
> > > > > > I'm conforming a feature that was done all 29.97 - but the
> > original is
> > > > > > 23.98. I haven't had this combo recently - in the past, the
> > method
> > > > > > was to create a 23.98 edl from the 24p column.
> > > > > >
> > > > > > Is there a newer, better, more efficient, not-involving and
> > EDL
> > > > > > method? Offline source was 23.98, captured as 29.97.
> > > > > >
> > > > > > Anything better than the EDL method? I'm poking around the
> > internet
> > > > > > and help files, but the 'L' is often faster!
> > > > > >
> > > > > > gh
> > > > > > ----------------------------------------------------
> > > > > > Greg Huson
> > > > > > Secret Headquarters, Inc
> > > > > > Post Production / Production
> > > > > > Culver City, CA
> > > > > > 323 677 2092
> > > > > > 323 677 2096 F
> > > > > > www.DigitalServiceStation.com
> > > > > > greg (at) SecretHQ.com
> > > > > > www.SecretHQ.com
> > > > > >
> > > > > >
> > > > > >
> > > > > >
> > > > > >
> > > > > > [Non-text portions of this message have been removed]
> > > > > >
> > > > >
> > > >
> > >
> >
> >
>
>
> [Non-text portions of this message have been removed]
>


------------------------------------

Please donate to the Red Cross to help those in earthquake ravaged Chile: http://tinyurl.com/y8pgceq

Search the offical complete Avid-L archives at: http://archives.bengrosser.com/avid/

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