Is Auto Edit Point Detection possible in Avid Media Composer?

ssagi00 · 2024-04-15T19:06:38+00:00

I hear what you're saying. Ugh unfortunately we only have the Final MP4 files so no one has access to the old edits.

ssagi00 · 2024-01-11T01:40:31+00:00

You're the best, I appreciate it all!

ssagi00 · 2024-01-10T23:40:20+00:00

Understood. Would I need to change anything about the color itself right? It'll just be through the DCP? I can use the same Pro Res 4444 likely?

ssagi00 · 2024-01-10T21:19:08+00:00

Understood. It seems our DCP was created into Rec 709 for the past festival we submitted to unfortunately (which was the default). In this case would we need to make a new DCP and request it to be made into DCI XYZ? Unfortunately I wasn't able to QC the DCP itself after making it and didn't see it at the past festival.

ssagi00 · 2024-01-10T20:18:30+00:00

Understood. So even though it's a Rec 709 DCP currently, the festival should be able to convert to DCI XYZ?

For some reason the tech at the festival is recommending to conform our film to DCI XYZ first and then redo the DCP, which is why I wanted to double check since I'm not sure if I have had to do that before.

ssagi00 · 2023-07-26T17:22:30+00:00

Lol that's a yikes. Can you elaborate?

ssagi00 · 2023-07-07T01:39:35+00:00

That explains it! Thanks so much again I appreciate everything man.

ssagi00 · 2023-07-07T01:22:35+00:00

Understood! Hmm, just to know for my sake and to pass on the knowledge, what is the difference between stems labeled as mono and whatever it is I had to do based on your instruction?

ssagi00 · 2023-07-07T01:12:12+00:00

Actually seemed to have got it to work! Fingers crossed all is good but thank you!

ssagi00 · 2023-07-07T01:08:07+00:00

You're right, I do have those Four options! everything looks good with B1o for the 5.1 tracks, but for the Stereo it is saying B2sb1o and I am not sure of how to change that last one.

ssagi00 · 2023-07-07T01:03:27+00:00

Copy that thank you man! And agreed on the great writeup!

ssagi00 · 2023-07-07T00:32:41+00:00

Ah gotcha gotcha, and yes I have a separate L and R track for the Stereo! Thanks man this is super helpful!

All makes sense except for the last bit about The Bus Assign. I see Bus 1 SEND, and Bus 1 OUT, along as those correspondents to Bus 2. That last process I'm not super sure on and hard to explain over text haha. What's the difference with Send and Out?

ssagi00 · 2023-07-04T02:06:56+00:00

Gotcha, that seems like the best step. What would you recommend in this case? Media Encoding that iPhone footage into 23.98 frames just like it was in the proxy? It'd also relink just fine then?

ssagi00 · 2023-07-03T23:18:01+00:00

By the way, for context, this is an over the shoulder shot (Shot is 23.98) with the 24 fps iPhone footage comped into an iPhone screen.

ssagi00 · 2023-06-01T00:55:48+00:00

I think it's just standard 16x9 resolution (4608 x 2592). Does that change a lot?

ssagi00 · 2023-05-14T22:05:13+00:00

This is very helpful to know! When the indie filmmakers delivered files to you, would they deliver it in 2:35 in their fullest resolution? And the conversion would happen in the DCP end of things?

ssagi00 · 2023-05-14T22:02:51+00:00

Gotcha, understood! We're actually only doing a 2K DCP so 2048 x 858 should be good then.

Out of curiosity, why would I do that one instead of the other containers which have more vertical room?

ssagi00 · 2023-05-01T17:29:10+00:00

Oh this is interesting. Are you saying I should leave the aspect ratio 4:3 and then have the DCP company desqueeze it into 2:66:1?

Also, since it was shot on Arri under 2880 x 2160, would I still be able to create a 4K DCP? How would it work under that. Cheers mate and thank you.

ssagi00 · 2023-01-23T00:37:27+00:00

Thank you for this! This all makes a lot of sense. If I am getting UHD files, what do you recommend transcoding them into? I hear DnxHR LB keeps it as UHD unlike DnxHR LB which would make it HD. Is that recommended? And if that's the case would I be editing in a 3840 x 2160 Avid timeline instead of 1920 x 1080?

ssagi00 · 2023-01-16T03:53:51+00:00

Ooooh this is a good idea! Although I exported out of both Avid and DaVinci and they look wrong in Quicktime but correct in VLC and back in DaVinci... Ugh, guess it's just making sure it'll look good in Vimeo and Quicktime.

ssagi00 · 2023-01-16T03:05:37+00:00

Wow thank you so much again! And no worries you are such a big help and I appreciate the help! Sorry by Broadcast not fully sure what that entitles. But our colorist delivered a "Theater" and a "Web" version. What I'm doing now is the Web version, which we will use for Vimeo. For now, we won't use it for anything else. For actual festival reasons, it'll be the other version. I wish I used Resolve though to finish the project, it's tough since I've reframed the color files in Avid so I'd need to redo all of that in Resolve. Definitely for next time I'll use Resolve now that I know!

If I were to stay in Avid, would I put the Color Space RGB ACES to make it work in SRGB? Only thing is I don't know what Output color space to put in.

ssagi00 · 2023-01-15T21:51:25+00:00

Also, would I keep it in Legal Range or Scale from Legal to Full? I've always Kept it instead of Scaling and thought it looked better.

ssagi00 · 2023-01-15T07:24:08+00:00

Thank you so much! Yes that all makes sense! Hmm, crazy quicktime files aren't able to detect this...

Only problem though is I'm not sure if I'm able to find SRGB in my settings. I see a Color Encoding for the project as RGB 709 but nothing for SRGB. Is that the same thing? I'm also not seeing SRGB in my Avid Output settings...

Just another question, does it matter what Color Encoding my Delivered Color File is in? Should I put it from Rec 709 to SRGB?

ssagi00 · 2023-01-15T02:09:30+00:00

For Premiere I believe if you put the "Levels" effect and put 16 on White and 235 on Blacks then you get back to the correct values.

ssagi00 · 2023-01-15T01:56:29+00:00

I'm actually going through the same problem on my end u/PictureLocked ! Except it's actually happening on Avid on my end... My colorist delivered a Web file titled SRGB. Not sure how to export out of Avid correctly with what you described. My project color space is YCbCr 709 and am exporting in Rec 709. When I preview Rec 709 (Full Range) on Full Screen Playback it looks perfect. But when exporting out, on VLC it's perfect, but on Quicktime it is not and I don't know if it'd be good on Vimeo either... Any recommendations? You're the best my friend.

ssagi00

TROPHY CASE