Good God. A total mess and completely unnecessary.
Plural Eyes can easily make new media files with the "good" audio embedded in the Quicktime. You AMA those and consolidate/transcode to whatever resolutions you need. No need for stupid subclips and sync timelines. No jumping through hoops to match frame.
I think you need to get the AE who seems to have all the brilliant tricks to come in and make sense of this.
Sorry I don't have anything more helpful. I can't make sense of the workflow that was taken.
On Friday, October 24, 2014, 'John Moore' bigfish@pacbell.net [Avid-L2] <Avid-L2@yahoogroups.com> wrote:
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> Got a sequence 59.94 where some 23.98 clips were synced to 2nd system audio with pluralize. I'm told one of the AEs had a trick so the editors could match back to the synced clip not the separate elements. Matching back video from the sequence matches to a sub clip which is listed as DNX 220 and the subclip is actually the stacked synced sequence that was imported from the pluralized aaf. If I match from the source side I get the video master clip that is 23.98. There appears to be major sync issues in the uprezzed online sequence. These clips are actually full resolution in the offline sequence and are in sync there. Somehow the uprez chaned these clips and they are also running at the wrong speed. They have 80 percent motion adapters but if I promote the motion adapter and set it to 100 percent they seem to run at the correct speed. The audio is also exhibiting sync issues and cut points are different when I cut the offline seq into the online seq.
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> How can the sub clip actually be a sequence that was a pluralize aaf import? This was discribed as a trick the AE did but we can't get ahold of him. Also how can the sub clip show DNX 220 when the video clip is DNX 175? There seems to be some under the hood confusion about what's 23.98 and what's 29.97. Anybody got a clue what this cluster flop is that I've inherited?
> Sent via BlackBerry by AT&T
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Posted by: John Pale <pale.edit@gmail.com>
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