[Avid-L2] Understanding Odyssey recorder log file etc...?

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On a 4k DCI 4096_2160 multicamera project where 5 cams are Panny Varicam 35 AVC-Intra 4096_2160 the 6th cam I believe is a sony something recorded on an Odyssey recorder.  I haven't been able to ascertain how this Sony media, which is UHD, was media managed.  I don't know if they used the Convergent Design ProRes/DNxHD Transfer Tool or if they just took in all the ProResHQ .mov files without stitching them together first.

 

Here is the log for one of the short clips,  others have several hundred clips to make up the hour plus long take.  This one is just a short cam test before rolling on the actual show:

 

odyssey_apollo_system_log

LOG DUMP DATE/TIME: 2020/02/23  03:53:02
2 no source
2177712 port 3 no source
2177988 vid source: port=2 vidFmt720p60 vidRawNone  NTSC    
2177990 port 3 no source
2180576 port 2 no source
2180576 port 3 no source

 

 

I don't know much about the Odyssey recorder but I assume this is telling me that of the multiple ports there was a video feed from the camera that was 720P60, or 59_94.  I don't understand why one line says source is port = 2 then it lists port 2 no source on other lines.  The resulting .mov snippet clips are ProResHQ .mov UHD 23.976Fps.  I'm assuming the SDI or perhaps HDMI feed into the recorder was the full 720P60 with pulldown but the recorder knows to remove pulldown to get to the true 23.976 frames.  Anybody know what metadata in the signal flags the recorder to do proper pulldown removal while recording?  I forget how all those P-2 frame converter programs determine 2:3 vs Adv Pulldown 2:3:3:2.  IIRC it wasn't just based on timecode.

 

I'm assume that an HDMI signal of 720P has the same spec as 720P SDI in that it's all 60 fram, 59.94, but is that true for HDMI?

 

I'm stiching the files together and playing around.  Now I'm wondering if there is some magic metadata elements that would allow Avid and Resolve to magically link properly to the stitched files if offline used the discreet snippet files.  Is there something akin to a traditional reel numbert/tape name hidden in the odyssey snippet files metadata that would track through to the stitched file from the Convergent Design Transfer Tool?

 

I'm trying to test an HDR workflow into Resolve but first I want to see if I can figure out how the under the hood linking is happening, or not happening.  I'm just starting to play.  Any experience welcome.

 

 

John Moore Barking Trout Productions Studio City, CA bigfish@pacbell.net

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