RED to AVID Meridian for Offline....

[Chris Parker]

Anyone working with RED footage converted for use in an AVID Meridian?

I have never worked with a Meridian, but have an enquiry about getting footage from RED to 14:1 in a file-based solution for offline cutting in Meridian. Sound would have to be synced from location sound mixer's WAV files.

Is this similar to processing footage for DV25 in newer Media Composers?

Any advice is appreciated.

 

[Job ter Burg]

You'd have to first get your hands on the Meridian codecs

The Meridien resolutions are still part of the current Avid codec set, which you can find at www.avid.com/codec.

 

[MichaelP]

You need to make sure that the ALE is properly created for SD (Pal and NTSC) workflows. MetaCheater is the only application right now that provides that functionality in the ALE creation process.

Michael

 

[Chris Parker]

Thanks guys. Michael, We created NTSC 14:1 QT files at 23.98 from RocketCine. We loaded those QTs into Metacheater, and hit the 24 to 30 button, and settings to NTSC 23.98. Exported that ALE and imported into AVID Bin in Meridien. Batch captured all the clips and then copied Start column to TC24 column, and displayed TC24 column over screen in AVID.

All seemed to be working, but wanted to make sure I did it properly?

 

[Jason Diamond]

Chris that all looks right.
It's the same as any AVID SD workflow and looks like you have that down no problem.

 

[MichaelP]

Sounds good from what you describe. If you did burn-in, the TC24 should track frame for frame.

Michael

 

[Chris Parker]

I can't seem to find anywhere a simple explanation of how to normally handle RED files coming in at 23.98 (epxorted to DNxHD at 23.98 for offline), but sound is recorded on set at 29.97. I am assuming this is easily done in AVID MC, but have not come across it yet, so was looking for the easy ABC's of how to do this in AVID.

Any difference if working in NTSC 23.98 for offline?

Thanks....

 

[MichaelP]

No difference, the sound timecode will be tracked in the Sound TC as 29.97 NDF.

Michael

 

[Jesse Korosi]

Hey Michael,
So when you drag all of your audio files from your browser into your Avid Bin, do you select 23.98 from the menu that comes up, or 29.97?
Also, do you have to duplicate your start column into your 24TC or anything of this nature?

Thanks in advance!

 

[MichaelP]

WHen importing BWF, you want to select the TC rate that was used on the set - and set by the production audio person. And when working in SD, you want to duplicate your START column into TC for all picture elements to track frame accurately at 23.976 for all lists.

Michael

 

[Chris Parker]

Thanks Michael. I think my question was a little confusing. The project is to be cut in DNxHD36 at 23.98. The sound wants to roll at 29.97. How do we handle this scenario?

 

[Chris Parker]

More specifically how do we bring the 29.97 WAV files into the 23.98 HD project and sync?

 

[MichaelP]

Import BWF, seldct 29.97 as timecode rate. START timecode reflects actual BWF timecode. I am assuming this is the same timecode used on the RED files (24) then converted to 30 via MetaCheater. The START timecode should be as close to being the same as it can considering 23.976 on picture snd 29.97 on sound. AutoSync, then use the slip function on the resulting subclip for exact sync. EDL on A channels will be the BWF timecode, EDL's on V channels can be START, or TC24 for picture as needed.

Michael

 

[Chris Parker]

you lost me michael. sorry. they are cutting in 23.98 in DNxHD. so the video files would have 23.98 timecode. unless you are saying that in order to work with 29.97 audio in an HD 23.98 project, we have to use the 24 to 30 trick when creating the ALE. the project itself would want to be 23.98 though, would it not?

would the start column for V channels then be the 23.98 timecode to be used to EDL, or would i NEED to create the ALE for the Video files using 24 to 30 (even though the offline is being done in HD 23.98 DNxHD 36)?

i am confused about this issue, so any details you could provide would be appreciated.

 

[MichaelP]

Sorry - I was confused by the subject of the thread which said "Meridian" which was an SD only system. For 1080p/23.976 project types, ideally they would record 23.976 in the field for production audio. But if they want to continue with 29.97 on the audio then import the audio into the project when it switched to the NTSC 23.976 settings. Make sure you select 29.97 for the BWF import. Now the START reflects 29.97. I would then duplicate the NAME into Soundroll, and the START into SoundTC. Switch project back to 1080p/23.976 and sync with the V clips. Now AutoSync will not be frame accurate due to the 23.976<->29.97 timecodes used for V and A in the field, but you will be as close as a 2?3 pulldown or 4/5ths relationship will get you. From there, slip and slide the A tracks on the subclip. This is why I continue to use a 35mm project, even if film is not being used so I have access to the 1/4 frame slip for subframe accurate sync in the project.

EDL's will be generated on TAPE and START for Video and SOundRoll and SoundTC for audio unless an AAF is being used for sound.

Michael

 

[Chris Parker]

awesome. thanks michael. yeah, my fault for the confusion.

i agree sound should roll at 23.98 and do the conversion to 29.97 later during sound mix. haven't heard of a post audio facility lately who couldn't easily accept 23.98 on their end.

again, thanks for the help.