I export a QT Ref out of Avid to carry the 10 audio stems I need, or more, for the delivery. I use Adobe Media Encoder to add pulldown. No muss no fuss, but you do have to be mindful to export with the Full Range setting. Even though the media essence from Avid if Rec 709 if you don't check the Full Range/RGB on older Avid systems you will end up with low levels if you are going to anything other than DNX media.
The safe way is to export color bars with it set to Full Range and then do the same set to Rec 709/Legal Level. Do the conversion and then ama to the results. This will come back at correct levels if the video essence of the encoded file is truely Rec 709. It doesn't hurt to check the source settings to make sure no scalers have been automatically added. In my experience going from DNX_175X QT Ref to XDCam 50 or H_264 .movs this works fine when I export with the Full Range check box selected.
Adobe Media Encoder does add pull down a 3:2 not 2:3 but this is visually identical and you will have a consistent cadence. You need to be mindful of the duration of bars and tone prior to program start so make sure you end up on a full frame at program start. Also be aware many networks now prefer 2:2:2:4 over the less juddery 2:3 or 3:2. They do this to avoid having to deal with any split frames when converting for streaming.
If you have varying codecs in your sequence then a mixdown is a safer way to go. I force all my renders to a common codec which avoids the need for a mixdown but there are gotcha along the way and the general consensus is to use mixdowns even if you are going to use QT Ref exports.
Patch fixes can be a challenge in this work flow but I found I could use custom exports in Adobe Media Encoder marking an in and an out where the patch is for subsequent fixes. If you take the time to muscle through this you can avoid the headaches of mixdowns which when QC fixes come in can be problematic because if you just mixdown the problem area it negates the consistent cadence as it's hard to determine where to start the revised mixdown relative to an A frame. I think it can be done but it would take some tests and I assume you would have to look on the master sequence and display 30 DF code that shows A frame, B Frame etc... and pick you in and out points for patch fixes based on the indicated A and D frames. It can become quite a dance so I've stuck to the QT Ref export.
When I informed a network that in order to maintain a proper cadence I had to go through many steps they realized on the second season it is easier for them if we just deliver native 23.976 with masters and patches after QC it was easier for them to do the final conversion.
---In Avid-L2@yahoogroups.com, <martin@...> wrote :
Posted by: bigfish@pacbell.net
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