Saturday, May 30, 2015

Re: [Avid-L2] FS 7 consolidate / AAF-resolve miracle

 

Not sure if it is related to what you found but a year or more ago I had a multicamera Red show that had been offlined from DNX 36 offline clips.  The AEs added their own tape names to the offline clips that had no relationship to the embedded clip names in the Red clips.  I was able to link to the Red Raw clips ama and add the tape names to match what the AEs had done.  The sequence would then relink and I was able to export an aaf that Resolve took and linked to the Red Raw files.

What was interesting was the Avid struggled with an error if I tried to play the clips or sequence with the ama'd Red clips.  These were hour long clips with a total of approximately 12 hours of source material.  If I turned off the video monitoring and never played any clips I could relink and generate an aaf but many times along the way I would get the something or other producer time out error ish message and I'd have to quit Avid and start from scratch.

Once I had a successful relinking the aaf would open in Resolve and I was able to use the "Red Trims" feature, not sure if that is the correct nomenclature, and Resolve generated decomposed clips with handles that had the tape name matching what the AEs had added and that would relink in Avid. 

This was with HD 1080 23.976 material so I don't know if it relates to your findings with UHD material but it did work after some trial and error.



---In Avid-L2@yahoogroups.com, <bouke@...> wrote :

Well, it  got even better.
My former assistant told me a couple of days a go he could export an AAF from transcoded offline material,
and Resolve linked to the sources without any hassle.
(This does make sense as modern clips all have a UUID (Universal Unique Identifyer),
but it's nice that this kind of stuff is finally implemented in relinking, as it should of course :-)
 
Bouke
 
VideoToolShed
van Oldenbarneveltstraat 33
6512 AS  NIJMEGEN, the Netherlands
+31 24 3553311
----- Original Message -----
Sent: Saturday, May 30, 2015 11:53 AM
Subject: RE: [Avid-L2] FS 7 consolidate / AAF-resolve miracle

 

Sorry to be late to the party but we had this and I think it was solved by using background transcode/consolidate rather than doing it in the foreground.  Maybe you could give it a try and see if that works?

Andi


To: Avid-L2@yahoogroups.com
From: Avid-L2@yahoogroups.com
Date: Sun, 17 May 2015 14:34:16 +0200
Subject: [Avid-L2] FS 7 consolidate / AAF-resolve miracle

 
Got a project shot in UHD on an FS 7, offlined with transcoded AMA clips.
After the ritual relink to AMA dance, found out that it would not
consolidate.
Bummer, but for the heck of it, i've exported an AAF from the AMA linked
sequence,
and oh joy, Resolve linked to all the camera originals without any hassle.

But now, how to get Resolve to play smooth?
(Not really an issue, as it will be graded elsewhere)

Bouke

VideoToolShed
van Oldenbarneveltstraat 33
6512 AS NIJMEGEN, the Netherlands
+31 24 3553311

---
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Posted by: bigfish@pacbell.net
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[Avid-L2] Re: mixing fps

 

Number of ways to do it. Assuming the 60i is QT you could import it with "ignoreqtrate" set in the console. It will all be imported slowed to 24.


Or Import , capture into a 60i project, then open those source bins in a 24 P project. Or AMA mount in the 24P project. Either way, Avid will add the motion effect anytime you sit the material in the timeline and you can change the rate in the motion effect editor to 100%. That's a bigger PITA as you have to do that to every clip.

Whatever you do, DON'T AMA into the 24P and then transcode as Avid will bake in the motion effect (it will warn you) and then you are screwed for trying to slo-mo it.

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[Avid-L2] mixing fps

 

Hi
My client wants to shoot a dance video in 24p but slo mo is a big part so we are thinking 60i. But she has older material shot in 24p. Can i take the newer 60i material, build out the slo mod, and then load all the media into a 24p avid project and finish that way? And in doing so mix in the older material as well? Or am I going to create issues for myself.

thanks

Lou
Lou Wirth Productions
500Tamal Plaza, Suite 522
Corte Madera, CA 94925
www.louwirth.com
415-924-9411p

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Re: [Avid-L2] FS 7 consolidate / AAF-resolve miracle

 

Well, it  got even better.
My former assistant told me a couple of days a go he could export an AAF from transcoded offline material,
and Resolve linked to the sources without any hassle.
(This does make sense as modern clips all have a UUID (Universal Unique Identifyer),
but it's nice that this kind of stuff is finally implemented in relinking, as it should of course :-)
 
Bouke
 
VideoToolShed
van Oldenbarneveltstraat 33
6512 AS  NIJMEGEN, the Netherlands
+31 24 3553311
----- Original Message -----
Sent: Saturday, May 30, 2015 11:53 AM
Subject: RE: [Avid-L2] FS 7 consolidate / AAF-resolve miracle

 

Sorry to be late to the party but we had this and I think it was solved by using background transcode/consolidate rather than doing it in the foreground.  Maybe you could give it a try and see if that works?

Andi


To: Avid-L2@yahoogroups.com
From: Avid-L2@yahoogroups.com
Date: Sun, 17 May 2015 14:34:16 +0200
Subject: [Avid-L2] FS 7 consolidate / AAF-resolve miracle

 
Got a project shot in UHD on an FS 7, offlined with transcoded AMA clips.
After the ritual relink to AMA dance, found out that it would not
consolidate.
Bummer, but for the heck of it, i've exported an AAF from the AMA linked
sequence,
and oh joy, Resolve linked to all the camera originals without any hassle.

But now, how to get Resolve to play smooth?
(Not really an issue, as it will be graded elsewhere)

Bouke

VideoToolShed
van Oldenbarneveltstraat 33
6512 AS NIJMEGEN, the Netherlands
+31 24 3553311

---
This email has been checked for viruses by Avast antivirus software.
http://www.avast.com





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Posted by: "Edit B" <bouke@editb.nl>
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__,_._,___

RE: [Avid-L2] FS 7 consolidate / AAF-resolve miracle

 

Sorry to be late to the party but we had this and I think it was solved by using background transcode/consolidate rather than doing it in the foreground.  Maybe you could give it a try and see if that works?

Andi


To: Avid-L2@yahoogroups.com
From: Avid-L2@yahoogroups.com
Date: Sun, 17 May 2015 14:34:16 +0200
Subject: [Avid-L2] FS 7 consolidate / AAF-resolve miracle

 
Got a project shot in UHD on an FS 7, offlined with transcoded AMA clips.
After the ritual relink to AMA dance, found out that it would not
consolidate.
Bummer, but for the heck of it, i've exported an AAF from the AMA linked
sequence,
and oh joy, Resolve linked to all the camera originals without any hassle.

But now, how to get Resolve to play smooth?
(Not really an issue, as it will be graded elsewhere)

Bouke

VideoToolShed
van Oldenbarneveltstraat 33
6512 AS NIJMEGEN, the Netherlands
+31 24 3553311

---
This email has been checked for viruses by Avast antivirus software.
http://www.avast.com


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Posted by: Andi Meek <kwikpasta@hotmail.com>
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Friday, May 29, 2015

Re: [Avid-L2] working directly with Avid mxf files in other programs

 

Wow, much food for thought here, thanks everyone. Will digest it this weekend

Paul

On May 28, 2015, at 10:29 AM, 'Edit B' bouke@editb.nl [Avid-L2] wrote:

 



Hey, i generate Wave files with a HEX editor if i need to :-)
 
  1. mix (digital signals) by alternating between them.
    • Computing
      divide (memory or processing power) between a number of tasks by allocating segments of it to each task in turn
       
    • "memory is automatically interleaved as additional memory cards are added"
    •  
Bouke
 
VideoToolShed
van Oldenbarneveltstraat 33
6512 AS  NIJMEGEN, the Netherlands
+31 24 3553311
----- Original Message -----
Sent: Thursday, May 28, 2015 4:22 PM
Subject: Re: *** SPAM ***Re: [Avid-L2] working directly with Avid mxf files in other programs

 

Bouke, I don't think we're talking about the same thing at all. Interleaving is a simple concept - check any stereo WAV file and you will see how it works. A serial stream, which alternates channel data. You keep saying 'not really', which is undermining the truth (not my opinion) of what this term means. I introduced no other concept into this discussion. I never brought up anything except to answer John's question about interleaved audio, which my answer for that is correct, the truth, and verifiable.

On Thu, May 28, 2015 at 10:13 AM, 'Edit B' bouke@editb.nl [Avid-L2] <Avid-L2@yahoogroups.com> wrote:
 



Mark,
Not really, as i've pointed out, there are more options to keep multiple tracks while keeping the data from the same timestamps together.
Of course multiiple mono Wave files do not support that, no question there.
Amd. since Apple calls 23.976 in fact "23.98", i don't care what Apple thinks is the right term...
 
But let's agree to disagree, i do believe we're at least have the same idea about the concept of interleaving....
(You do know what AVI means, do you :-)
 
 
 
Bouke
 
VideoToolShed
van Oldenbarneveltstraat 33
6512 AS  NIJMEGEN, the Netherlands
+31 24 3553311
----- Original Message -----
Sent: Thursday, May 28, 2015 3:21 PM
Subject: Re: *** SPAM ***Re: [Avid-L2] working directly with Avid mxf files in other programs

 

Bouke,

Interleaved is the correct term for multiple audio channels in one sound track.

You can do a search on this and find multiple sources to verify, here's just one: https://documentation.apple.com/en/logicpro/usermanual/index.html#chapter=42%26section=0%26tasks=true


John was not describing multiplexing, or I would have pointed that out. The main difference is that the term multiplexing usually refers to combining multiple sources of different types (as you described, audio and video, for example).



On Thu, May 28, 2015 at 7:09 AM, 'Edit B' bouke@editb.nl [Avid-L2] <Avid-L2@yahoogroups.com> wrote:
 



Mark,
Not really.
Interleaved means that the audio and video (and perhaps other tracks like subs) is 'multiplexed', meaning,  tracks that are ment to be displayed at the same time are written at about the same place in the file.
This is important for devices that have onle one read-head (DVD / Blu-Ray), as of course otherwise the head neads to move between two places to get the data.
 
This however DOES NOT describe how many tracks can be used, just the location where the bits should be stored.
 
For us working with drives that have multiple platters / heads it's not that important.
In fact, in some cases it's better NOT to have it interleaved.
Eg in my sound extraction software, it's nice to have the sound in one place, so you don't have to wade trough all the video to extract a tiny bit of audio data.
(This is also the reason Avid keeps audio and video as seperate files, the summum of non-interleaved)
 
 
Bouke
 
VideoToolShed
van Oldenbarneveltstraat 33
6512 AS  NIJMEGEN, the Netherlands
+31 24 3553311
----- Original Message -----
Sent: Wednesday, May 27, 2015 11:07 PM
Subject: Re: *** SPAM ***Re: [Avid-L2] working directly with Avid mxf files in other programs

 

Interleaved is the correct term for that.

Pro apps can generally deal with interleaved sound track or multiple mono sound tracks in a QT file. But even Pro Tools had problems with that not too long ago, and would lose tracks, change speed, all sorts of weirdness. It's likely that Netflix folks were gun shy about using them because of that or other similar problems in other apps. Multiple mono sound tracks in a QT is generally the standard only because less can be screwed up that way.

On Wed, May 27, 2015 at 5:01 PM, bigfish@pacbell.net [Avid-L2] <Avid-L2@yahoogroups.com> wrote:
 

I have had problems in the past using the QT export through QT Change.  It worked but for some reason the quality was low no matter what I did.  IIRC I ended up in the same setting dialogue window as QT Pro but changing the quality settings didn't seem to change quality of the resulting .mov.  Making the same changes in QT Pro 7 did change the quality of the resulting file.

Regarding "Interleave" perhaps that's not the correct term but when I use QT Pro with 12 tracks of audio from an Avid QT Ref and export to ProResHQ the audio is contained in a single sound track in the movie properties.  Inside the sound track are the 12 channels.  As I mentioned there was some concern by the QC house when delivering to Netflix.  They wanted what they called 12 mono tracks.  There solution was to take the file into final cut and re-export.  The original QT Ref export from Avid has 12 mono tracks not a single audio track with "embedded" or "interleaved" tracks.  What would the proper term for that be.

Given I can AMA to the resulting ProResHQ file and see all the 12 discrete tracks in proper order I never viewed the "Interleaved" audio track as an issue but the QC house did for Netflix.  As I already mentioned when I contacted Netflix QC directly they did not have an issue with it.

Enter

Enter


Enter

;-)



---In Avid-L2@yahoogroups.com, <bouke@...> wrote :


Note that QT export is slow.
But, if you like it, do note that QTchange can export to Prores as well.
This does exactly the same thing, as it uses the QT engine, you don't even need QT pro. (this only works on Mac i think)
 
Check the 'export / transcode' checkbox, and press 'do it'
your TC will be retained this way, and you can work in batch if you like.
 
If you have all codecs the same in your timeline, you could export a QT ref, and use QTchange to flatten.
(But you can do the same from Avid, with same as source export)
 
If you want another app. to do the transcode, and you need to retain the TC while the transcoder strips it, there is another trick:
QTchange can save the TC attributes from the source.
(You end up with a .att file next to the sources)
Move those files to the transcodes, setup QTchange to use the .att files, load clips and refresh TC.
This will add the source TC to the transcoded files.
 
I have no clue what you mean with the 'interleaved 12 channels', but i do have an app. that can alter audio in a QT.
(patch, move channel numbers, leave channels out, duplicate channels, that kind of stuff.)
It does not care how the tracks are build up, it will happily eat a source with 3 stereo tracks, 4 mono tracks and a 5.1 surround track,
and merge that into one single 13 channel track.
Let me know if you want to toy with it.
 
Last but not least, please try to use the enter key every now and then.
Just think of breaking up your text into scenes that have a bit of meaning on their own.
 
hth,
 
Bouke
 
VideoToolShed
van Oldenbarneveltstraat 33
6512 AS  NIJMEGEN, the Netherlands
+31 24 3553311
----- Original Message -----
Sent: Wednesday, May 27, 2015 3:19 AM
Subject: *** SPAM ***Re: [Avid-L2] working directly with Avid mxf files in other programs

 

Couldn't you export QT Ref of the clips you have captured.  Then use QT Pro 7 to export to ProRes.  I do this for ProResHQ delivery of final shows.  IIRC you can highlight a clip in a bin and export it.  I forget how marks on the clip will effect that, I think it's based on your export settings.  I would think you could either clear the marks or mark in and out for the entire clip and export a QT Ref.  One of the downsides to this is the ProRes file has no matching time code.  I have QT Change and just add it back which is easy especially for show masters.  I can see how that would be more painful with random clip time codes but it would leave the Avid free to keep capturing.  I don't fight the dreadful gamma shifts etc... with this workflow on show masters.  I bet squeeze would also do this but once I got QT Pro to work for me I'm kinda stubborn to change although that's just me.  Contempt before investigation has me stuck.  I do foresee having to change soon as I find some of the QC people flag the resulting "interleaved" single audio track with all the 12 channels as discrete channels inside as a potential issue.  I don't see what that is about given I can ama back to the resulting file and access all 123 channels.  Perhaps some server ingest workflows balk at this?  The one time it was flagged for a Netflix delivery I checked with Netflix directly and they said it wasn't a problem for them so I am as always in the file based limbo world.


---In Avid-L2@yahoogroups.com, <lists@...> wrote :

Thanks Curtis & Mark,

Sadly I'm using an old Avid MC with Mojo SDI and I think one has to be using MojoDx to capture to ProRes. If I see a potential "volume" business I will get a new box that will do ProRes natively. I'd first would like to get my head around what software will work with Avid MXF files, anyone know?

Thanks,

Paul


On May 26, 2015, at 2:19 PM, Curtis Nichols curtisn@... [Avid-L2] wrote:

 

FWIW, you could dub to AJA KiPro, or any other file recorder, instead of dubbing to MC. I realize that may be added cost to a simple project that already has a paid-for Avid. But it's also a one-step solution. Then all you'd have to do is rename the files and copy to archive storage media.

Curtis Nichols
PCS Production Co.
Irving, TX.


On Tue, May 26, 2015 at 8:05 AM, Paul Dougherty lists@... [Avid-L2] <Avid-L2@yahoogroups.com> wrote:


I'm using an older Media Composer to capture 1:1 lossless NTSC for archival purposes. For this project the preservation format or digital master will be ProRes. I'd like to be able to distribute the processing ie. not tie up the Avid for transcoding but keep it free to do capture. Is there a way to skip the "export to Qt" step and work directly with the mxf "capture" files? (1 video & 2 audio in Premiere for example?)









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Posted by: Paul Dougherty <lists@postlit.com>
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Thursday, May 28, 2015

Re: [Avid-L2] YouTube Studios LA

 

What is "the tubes" secret to such good looking video.

Tom McDonnell
818-675-1501
www.tmcdonnell.com
>

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Posted by: Tom McDonnell <ltr54@sbcglobal.net>
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Re: [Avid-L2] YouTube Studios LA

 

OK.  There's some very good content getting squeezed out there.  Quite an incubator.


I googled some of the demo reel.  This video was my favorite.


But there's a "one take" steadicam mashup of a Hunter Hayes song - featuring the whole facility.
 

RT


On May 28, 2015, at 8:58 AM, 'Dave Spraker' avid@spraker.tv [Avid-L2] <Avid-L2@yahoogroups.com> wrote:


How about a heavy metal police station?  That I might watch…

 

Dave Spraker

 

Principal, spraker.tv

Shared Storage Solutions  |  Consulting  |  Sports Audio

www.spraker.tv

 

Northwest Territory Manager, Western Rep Associates

Broadcast and AV Manufacturer's Representative

www.westernrep.com

 

dave@spraker.tv
(503) 897-0250

 

From: Avid-L2@yahoogroups.com [mailto:Avid-L2@yahoogroups.com] 
Sent: Thursday, May 28, 2015 11:39 AM
To: Avid-L2@yahoogroups.com
Subject: RE: [Avid-L2] Re: YouTube Studios LA

 

  

Besides the big stage, they have a couple built out sets that you can use. Right now one is a police station set like Barney Miller, the other is a heavy metal dive bar. They change them out every 6 months.



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Posted by: Tibbetts Richard <huipro@hawaii.rr.com>
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RE: [Avid-L2] Re: YouTube Studios LA

 

How about a heavy metal police station?  That I might watch…

 

Dave Spraker

 

Principal, spraker.tv

Shared Storage Solutions  |  Consulting  |  Sports Audio

www.spraker.tv

 

Northwest Territory Manager, Western Rep Associates

Broadcast and AV Manufacturer's Representative

www.westernrep.com

 

dave@spraker.tv
(503) 897-0250

 

From: Avid-L2@yahoogroups.com [mailto:Avid-L2@yahoogroups.com]
Sent: Thursday, May 28, 2015 11:39 AM
To: Avid-L2@yahoogroups.com
Subject: RE: [Avid-L2] Re: YouTube Studios LA

 

 

Besides the big stage, they have a couple built out sets that you can use. Right now one is a police station set like Barney Miller, the other is a heavy metal dive bar. They change them out every 6 months.

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