Thanks Curig! Planning to re-doing them this year now that I have a more established format of making these videos that's a bit more slick and will add more info into them too! Stay tuned ;)
Hey Jack, I've recently started to occasionally work on Avid, and while I see many advantages to justify working on Avid over other softwares, like Premiere Pro, I just find the whole sub-clipping workflow to be rather antique. At this time and age shouldn't the whole ordeal already be more practical and smooth? All projects that come through me have at least two tracks, so we have a bin for subs, and another bin for groups, it is somewhat frustrating having to manually create every single synced clip. Any chance you could do a video explaining why does Avid still work in such fashion? Anyhow, a simple reply here might just do it. Thank you, appreciate your content.
Haha there is an auto sync feature that Avid has always had which is a faster way. I demonstrate this in Part02. I am showing doing it manually because I prefer this method as it leaves behind a sync map that you can go back to if any need re-done as well as getting you familiar with the footage as you sync it. Plus since you have to then go through and rename your subclips anyway, this method really doesn't add that much more time. This is a round about way of saying subclipping is my workflow, not the only way of doing this in Avid. Check out the part 02 video for autosync.
Are you able to sync the audio to the subframe? Sometimes I find I need to slip the audio within the frame to align exactly to the clap point, as sometimes frame accuracy isn't enough and can cause drift overtime. I think it's called Perf Slipping?
Yes you can perf slip. I think you may have to have set up as a film project in order for that option to be available. I've never done it on any of my projects to be honest. Frame accurate has been enough. Met one person once who went subframe. But most will just go to frame match.
Interesting! I know it's generally a moot point since technicaly there is latency in the chain from boom and lav to mixer etc anyway too, so sometimes, oddly, being slightly early/late on the sync might be preferred@@theavidassistant but this is good to know, fundamentally you can't do subframe audio editing on the avid timeline. I'm just so use to it in fcpx and Resolve so I was curious.
@avdcam no worries. Yes no subframe editing on the timeline. Avid is mostly based off of old film workflows as it's the only NLE still owned by the same company it that originally made it and still the same design (which does cause some issues with updating and things). But in general most people can't even tell if something is 1frame out of sync, let alone out within the frame. Sometimes (rarely) if it's a questionable one I'll move it back one so that we see then hear. With the logic being light is faster than sound anyway. I know how to do subframe fixes but never saw the point since editing and films/tv is in time coded frames. I do use FCPX too though and have done it there just because it's there on the timeline.
yah totally agree. I think for me it comes in handy a lot of dialogue editing and take swaps/adr where i'm stealing audio from other takes or words etc. which I agree is an audi post general responciblity, but it's nice when I can audition and idea and veto it without having to both anyone.@@theavidassistant
Hey man, thank you for your videos, it's really awesome and a very good guidebook for Avid. I'm actually setting up a short film project in Media Composer and I'm running into an issue that seems like an easy fix but I can't find a solution... So I built my sync map and synced the audio and video to the slate, but some of the audio clips are split in two for some reason. So then, when I try to AutoSync my subclips, these can''t be autosynced. Do you have an easy workaround for that? That would help me very much! Thanks again, Yoann
Hey Yoann, so when that happens for whatever reason what you'd do is create two seperate subclips. One sync'd to the first audio clip and the other with the second part. So if this was slate 1A-1 for example I'd call these subclips: 1A-1.1 & 1A-1.2. Generally an avid subclips should be one piece of video and one piece of audio. Now after that if you want them as one clip to work with just select both clips, right click and select "multi-group". This will group them together. Be sure to select by source timecode. Had a lot of these on my current job actually.
*NOTE* - If part of your workflow involves using the metadata from Sound or Camera for columns like Tape ID, Scene or Take then be wary of how you make your sync map. If you make it by grabbing the sound auto sequence and laying the video onto it (as I have done) then the sound info will take precedence in your subclips. If you make it by grabbing the video auto sequence and laying sound onto that then the video info will take precedence. Important thing to note for your sync'd subclips if this factors into your workflow :) Credit to Miguel Angel for pointing out this brilliant little piece of information.
@SeanHughes-ii5lz Can you give me a timestamp of where I'm saying "subclass"? I can't think of why I would say that. May be my accent when I'm saying subclip 😂
@@theavidassistant I actually mean in the above comment! " you make it by grabbing the sound auto sequence and laying the video onto it (as I have done) then the sound info will take precedence in your subclass. If you make it by grabbing the video auto sequence and laying sound onto that then the video info will take precedence. Important thing to note for your sync'd subclass if this factors into your workflow :)"
@@SeanHughes-ii5lz Ah!! Yes that is an autocorrect mistake haha It never likes that word "Subclip" I've now amended my autocorrect on my computer to account for it and will update that comment now. THANK-YOU for pointing this out!
@@theavidassistant I thought it might be an autocorrect issue, but wanted to make sure there wasn't something I was totally unaware of. Once again, thanks for this whole series, it's fantastic!
Great vid !!!! Have you covered maybe in another video how to deal with shotings that have multiple sound recorders and how does that affect the turnover to lab? If I only had 1 audio recorder I would copy the tapeid on the soundroll column so that protools would accept it wuth no problems, but with 2 sound recorders I'm lost
I've actually never come across that. Especially in a scripted production. I can see how it might happen in unscripted, in which case maybe have all channels from both sound recorders on the sync'd subclip? That way you can just pass it to them and it would link up from the AAF
@@theavidassistant That would be the best approach I've found so far. The only obstacle left I've got is that the editor wants to only work with the mixdown, so I've found myself in this place where I've got a solution but not one the editor is fond to have. Either way thank you for the fast response!! My issues aside, your vid has been super helpful for me!! If you ever come across with another solution I'll be glad to hear it !!
Hi Jack! If after syncing you use in the edit only the mixed audio track (not the single mics) - so you have less audio tracks in the sequence - how can you add all the other mics back at the end of the offline, before sending it to the sound post person? Is there an automated way to do that? Have you cover this in any of your videos? Thank you so much
Hi Philippe, it's been asked a few times in the comments. Will need to address it in a video at some point. Answer is I don't add the other tracks back in. Generally I'm always turning over to proper sound post facilities who use ProTools which has a function to just add those back in automatically from the source files and link them to the timeline. Adding them back in to the timeline at the end used to be a necessary step but I have done it since 2013.
I use an app called "Keybord Maestro". It's Mac only but it's really great, powerful and simple to use. Got a video going into it in detail on the channel: Scripting Macros in Keyboard Maestro ua-cam.com/video/LpTHbT9h_IA/v-deo.html When I have to work on windows then I can recreate this on my stream deck:)
If you subclip only the sound mixed track, how does the turnover for pro tools work? I mean, will they receive all the tracks once you export the aaf? or do you have to reinsert the other tracks before exporting the aaf?
I was actually answering this very question to one of the Patreon users the other day! So back in the day I'd lay back on all the other channels before doing the sound turnover. It took ages! But that guaranteed sound had it on their timeline at the other end. HOWEVER I haven't had to do that for 10 years. Nowadays you just hand over the source sound files along with your AAF and the sound facility will do the relink themselves at their end before ingest to ProTools using edit load. Saves time for everyone. The later videos in AE100 cover turning over to sound and online :))
@@theavidassistant Awesome, thanks. Also, I've never used auxiliary timecodes before, but you mentioned they can be quite useful, could you explain in one of your videos some uses for it?
Oh the uses are endless. Depends on the situation. It's basically a backup timecode field. So you could duplicate the timecode field into your aux timecode and edit it if needed. Or if sound and picture have differing timecode it can be useful there too. Sure thing though, will make a short video on it soon :))
Love it! I love to see different approaches for all of the different editing tasks. May I return the favor by saying you can expand or collapse the audio Track Control Panel with the tiny left/right-facing arrow that's sitting to the right of the Mas TC in the upper left of the Timeline panel. (It's under the Smart Tool buttons and to the left a little bit.)
Nice! Good to know! I generally have it mapped to a key to flick the track control panels on and off but have just rebuilt my settings and not added that back on yet :)
Can I just say to anyone else who may have got stuck on this, THE SUBCLIPS ARE SUPPOSED TO BE SUBSEQUENCES, you turn them into subclips in the bin with auto sync. I guess the first time I watched this I missed that crucial information and was stuck on it for an embarrassingly LONG TiME.
Jack, I don’t know the definitive answer to this but would you ever - after ingesting your video - rename your clips (via bulk edit) before creating your vision auto sequence? And if not why? What would be the ramifications down the track? Thanks mate
Definitely not. I (and most folk I've met in post - though not all) never rename the source clips. After sync'ing we end up with sync'd subclips and they will be renamed as per the slate, likely using bulk edit if we have that data in the ALE (though I prefer to do it manually). Reason comes down to relinking and preserving the source data. Sure that data SHOULD always be in the tape/labroll column but it's still good practice to keep source clips named as per the camera since we will always end up with subclips anyway. I never cut with the source clips. Even if there is no sync sound I'll make a subclip and rename it to keep with this practice.
In terms of ramifications if you alter the metadata of any of the source clips I've seen it break the ability to relink to the source in online before or at the very least cause a lot of hassle getting it to work as we restore that data. I worked in a post facility before being an Assistant Editor years ago and we bumped into this once or twice.
Generally I’ve always created subs from an auto sequence video timeline synced to an auto sequenced audio timeline and would never touch the original ingest media. However, my assistant began renaming the originals and I really had to scrutinize why as I’ve personally never come across any relink issues. But I’m glad you’ve shed some light on this matter. Thanks again.
When relinking audio from subclips to original 4 channels, what happens to the other tracks if you have a J cut? Does it add another tracks in between?
What do you mean by J cut? I generally deliver my audio to sound like this and they will relink to source tracks in ProTools. It's fairly simple to do the relink at that end and then they have access to the ISOs should they need them. I only use the mix track the whole way through edit.
Yup of course. Part02 of sync'ing video I think shows that as well as a few other sync'ing approaches. I'll use timecode and slate wherever possible but if they don't have matching timecode then yeah it will be replace edit one by one as per the slate clap.
See 6min into Part02 video for my preferred manual way of sync'ing without matching timecode. Marker called replace edit :) ua-cam.com/video/97z6h1v4zv8/v-deo.html
@@BrianMarcWhittaker I normally use the Tape column as I show in my Transcoding for Avid in Resolve video. But the Tape column can't easily be edited or updated in Avid so then I'll use Labroll, Camroll, Disk Label. As long as there's commonality it's not massively important where the data is. Doing Tape is just super easy when you're transcoding in Resolve. ua-cam.com/video/M8iL7w9BBsk/v-deo.html
Keyboard Maestro! My go to for scripting. When I need to work on Windows machines though I also have the same script on my Stream Deck. Got a video on the channel on scripting. Bit long and one of my earlier ones but demonstrates some of the more complex scripts I use :)
@@theavidassistant Thank you dear. At 27:22 you pressed a keyboard shortcut to maximize the text field to make all the text visible, what was that shortcut?
When you're in the bin, if the view is not showing at the text at any point, select the item or do a select all and then the shortcut is cmd/ctrl + T. This will resize all the columns to the size of the text in all fields. Sorry I should have mentioned. Do a lot of these shortcuts instinctively now so didn't realise.
i always (can, yes i can) rename the folders in AvidMediaFiles after dragging the mdb files in bins first. two purposes: 1. now i have meaningful names project wise.(imagine i have 20 projects with over 500 folders in MXF folder, apple folder tags dont work as expected) 2. now folder mdb is locked, so it wont be polluted by any metdata i create in bins. if some assistant has entered wrong metadata in bins, it would not get added to footage folder,(this is pain in the neck, when you try to correct metadata in avid bins but it defaults to something else). so metadata is now only stored in bin itself only which i always can correct or recreate or atleast is empty instead of wrong. and yes i also use picture and sound instead of audio and video, so that video always comes first everywhere, so good to see i m not wrong , you "who actually work in big industry" do the same. and this video is fantastic. though i use pluraleyes because avid does not do sample level sync (it should never otherwise it will be a big mess, creating problems in further post production, avid should stay at frame or perforation level sync always, audio can be adjusted), i often render full day audio as one file, sample level synched and then use ALE from resolve to sync in AVID with auxTC. some people are very fussy here about sample level sync, though they themselves dont understand , but they have an excuse that premiere can do it, why not in avid.
This can be done in Avid now I believe. A while back they added a "sync by waveform in timeline" feature. Works very similar to PluralEyes actually. I don't use it because almost every time I get media in long form productions, my picture doesn't have any guide audio on it at all, so there's nothing to match to. I'm going to add to this soon by uploading a quick video highlighting the other main methods of sync'ing in Avid, the is just the one I use. As for renaming the MXF folders in the finder level, I have done it in projects in the past but have found it risky and don't recommend it for newcomers. Reason being is that sometimes you need to rebuild the mdb files by deleting a forcing Avid to do a rescan. If the MXF folders are not named as numbers then Avid won't scan them. Renaming for the scan and then renaming back can be very messy, so I see it as more an advanced method that you should only use if you know what your doing. This being a course aimed at newer assistants, I didn't want to mention it. Though I like what you say about "locking" the mdb files, there are reasons to recreate metadata regularly. Do you have 20 projects all going at once? Or do you leave the MXFs there for old projects? I like to remove MXFs from a project as soon as I'm finished on one to keep Avid MediaFiles tidy and only containing what I'm using.
@@theavidassistant thanks for reply. yes dailies folders i create always shootdatewise, so for long form i have to keep them. and refresh .mdb are always everything except dailies. graded footage folders are almost all the time refreshed when they come back from baselight or resolve. but never dailies. cheers bro. long live the avid.
Duplicate column of original file name is generally the first thing that's done. I do it as part of my transcoding in DaVinci so it doesn't need to be duplicated in any avid bin. But if transcoding in avid then yes it should be done right at the start into a column like labroll or camroll as this is what will allow you to relink to the source later on. There must be that commonality of source data throughout the chain.
@@theavidassistant Green question, but why not just always duplicate the original file name into tape, rather than labroll or camroll? Would this circumvent the "commonality" issues when linking to camera originals with proxies generated in Resolve (you mentioned this in another proxy workflow video)? Also, do tape, tape ID, labroll, camroll, disk label essentially all serve the same purpose with metadata logging (what about reel?) A short video of what these categories differ (I always get the differences confused) would be amazing :)
@lala4111 All thee categories essentially serve the same purpose. But there may be times when you'd use one over the other. For example: When transcoding in Resolve you'd always use TAPE since that's the column that the resolve setting can dupe into when transcoding. Can't do it with any other one When linking clips in avid and transcoding from there you can't use Tape (since you can't dupe into that column. Or TapeID I think). LABROLL, CAMROLL, DISK LABEL etc can all be used when transcoding in avid since these can be duped into and batch edited. If you are taking the commonality from the camera's ALE file then you'll use whatever column that camera uses. Will do a video on ALEs soon.
Hello everything is fine? Thanks for the answer, I managed to find it in other searches. Thank you for your content, it is very good, I have an Avid channel in Portuguese, I always watch your videos to study and learn new things about the program.@@theavidassistant
I have had the pleasure of being taught this course in person by Jack. These videos are brilliant and serve as great reminder and revision.
Thanks Curig! Planning to re-doing them this year now that I have a more established format of making these videos that's a bit more slick and will add more info into them too! Stay tuned ;)
Is good to learn more every day ! thans Asssintant 🎞✂🤓🤓
Loved you tutorial man keep up the great work!
So so helpful. Thank you. What does "NG" stand for?
NG is a common abbreviation for "No Good". Essentially something like a false take or flash frame that you can't make any use out of :)
This is invaluable, thanks so much for this!!
This is top notch. Very grateful for your videos!
Thanks man 🙏
Love your videos, so so helpful, definitely one of a kind currently on youtube. Keep it up!
Thanks man! Lovely compliment :)))
Hey Jack, I've recently started to occasionally work on Avid, and while I see many advantages to justify working on Avid over other softwares, like Premiere Pro, I just find the whole sub-clipping workflow to be rather antique. At this time and age shouldn't the whole ordeal already be more practical and smooth? All projects that come through me have at least two tracks, so we have a bin for subs, and another bin for groups, it is somewhat frustrating having to manually create every single synced clip. Any chance you could do a video explaining why does Avid still work in such fashion? Anyhow, a simple reply here might just do it. Thank you, appreciate your content.
Haha there is an auto sync feature that Avid has always had which is a faster way. I demonstrate this in Part02. I am showing doing it manually because I prefer this method as it leaves behind a sync map that you can go back to if any need re-done as well as getting you familiar with the footage as you sync it. Plus since you have to then go through and rename your subclips anyway, this method really doesn't add that much more time.
This is a round about way of saying subclipping is my workflow, not the only way of doing this in Avid. Check out the part 02 video for autosync.
Are you able to sync the audio to the subframe? Sometimes I find I need to slip the audio within the frame to align exactly to the clap point, as sometimes frame accuracy isn't enough and can cause drift overtime. I think it's called Perf Slipping?
Yes you can perf slip. I think you may have to have set up as a film project in order for that option to be available. I've never done it on any of my projects to be honest. Frame accurate has been enough. Met one person once who went subframe. But most will just go to frame match.
Interesting! I know it's generally a moot point since technicaly there is latency in the chain from boom and lav to mixer etc anyway too, so sometimes, oddly, being slightly early/late on the sync might be preferred@@theavidassistant but this is good to know, fundamentally you can't do subframe audio editing on the avid timeline. I'm just so use to it in fcpx and Resolve so I was curious.
@avdcam no worries. Yes no subframe editing on the timeline. Avid is mostly based off of old film workflows as it's the only NLE still owned by the same company it that originally made it and still the same design (which does cause some issues with updating and things). But in general most people can't even tell if something is 1frame out of sync, let alone out within the frame. Sometimes (rarely) if it's a questionable one I'll move it back one so that we see then hear. With the logic being light is faster than sound anyway. I know how to do subframe fixes but never saw the point since editing and films/tv is in time coded frames.
I do use FCPX too though and have done it there just because it's there on the timeline.
yah totally agree. I think for me it comes in handy a lot of dialogue editing and take swaps/adr where i'm stealing audio from other takes or words etc. which I agree is an audi post general responciblity, but it's nice when I can audition and idea and veto it without having to both anyone.@@theavidassistant
What a great tutorial -- thank you. One question, though: at 14:46, you say you create a sub-clip. But that's actually a subsequence, right?
Sub sequence at first, but once we select it and run autosync, they turn into subclips, which is what we will be using as rushes :)
@@theavidassistant Wait. What?? You're right!! (Wish I could've given 5 Likes to your reply!)
@@arvvee1832 this also haunted me for months until now rewatching it lol
Hey man, thank you for your videos, it's really awesome and a very good guidebook for Avid.
I'm actually setting up a short film project in Media Composer and I'm running into an issue that seems like an easy fix but I can't find a solution...
So I built my sync map and synced the audio and video to the slate, but some of the audio clips are split in two for some reason. So then, when I try to AutoSync my subclips, these can''t be autosynced. Do you have an easy workaround for that?
That would help me very much!
Thanks again,
Yoann
Hey Yoann, so when that happens for whatever reason what you'd do is create two seperate subclips. One sync'd to the first audio clip and the other with the second part. So if this was slate 1A-1 for example I'd call these subclips: 1A-1.1 & 1A-1.2. Generally an avid subclips should be one piece of video and one piece of audio.
Now after that if you want them as one clip to work with just select both clips, right click and select "multi-group". This will group them together. Be sure to select by source timecode.
Had a lot of these on my current job actually.
@@theavidassistant awesome, thank you for your quick and comprehensive answer! Best of luck with your current and future jobs. :)
*NOTE* - If part of your workflow involves using the metadata from Sound or Camera for columns like Tape ID, Scene or Take then be wary of how you make your sync map. If you make it by grabbing the sound auto sequence and laying the video onto it (as I have done) then the sound info will take precedence in your subclips. If you make it by grabbing the video auto sequence and laying sound onto that then the video info will take precedence. Important thing to note for your sync'd subclips if this factors into your workflow :)
Credit to Miguel Angel for pointing out this brilliant little piece of information.
Hey, thanks for the great videos! When you say subclass, do you mean subclips? And if you mean subclass, what does that mean?
@SeanHughes-ii5lz Can you give me a timestamp of where I'm saying "subclass"? I can't think of why I would say that. May be my accent when I'm saying subclip 😂
@@theavidassistant I actually mean in the above comment!
" you make it by grabbing the sound auto sequence and laying the video onto it (as I have done) then the sound info will take precedence in your subclass. If you make it by grabbing the video auto sequence and laying sound onto that then the video info will take precedence. Important thing to note for your sync'd subclass if this factors into your workflow :)"
@@SeanHughes-ii5lz Ah!! Yes that is an autocorrect mistake haha It never likes that word "Subclip" I've now amended my autocorrect on my computer to account for it and will update that comment now. THANK-YOU for pointing this out!
@@theavidassistant I thought it might be an autocorrect issue, but wanted to make sure there wasn't something I was totally unaware of. Once again, thanks for this whole series, it's fantastic!
Great vid !!!! Have you covered maybe in another video how to deal with shotings that have multiple sound recorders and how does that affect the turnover to lab? If I only had 1 audio recorder I would copy the tapeid on the soundroll column so that protools would accept it wuth no problems, but with 2 sound recorders I'm lost
I've actually never come across that. Especially in a scripted production. I can see how it might happen in unscripted, in which case maybe have all channels from both sound recorders on the sync'd subclip? That way you can just pass it to them and it would link up from the AAF
@@theavidassistant That would be the best approach I've found so far. The only obstacle left I've got is that the editor wants to only work with the mixdown, so I've found myself in this place where I've got a solution but not one the editor is fond to have. Either way thank you for the fast response!! My issues aside, your vid has been super helpful for me!! If you ever come across with another solution I'll be glad to hear it !!
Hi Jack! If after syncing you use in the edit only the mixed audio track (not the single mics) - so you have less audio tracks in the sequence - how can you add all the other mics back at the end of the offline, before sending it to the sound post person? Is there an automated way to do that? Have you cover this in any of your videos? Thank you so much
Hi Philippe, it's been asked a few times in the comments. Will need to address it in a video at some point.
Answer is I don't add the other tracks back in. Generally I'm always turning over to proper sound post facilities who use ProTools which has a function to just add those back in automatically from the source files and link them to the timeline.
Adding them back in to the timeline at the end used to be a necessary step but I have done it since 2013.
Thank you 🙏🙏@@theavidassistant
Nice one man. I have a question: how do you create or use scrip to automate some processes, like you did in 16:18?
I use an app called "Keybord Maestro". It's Mac only but it's really great, powerful and simple to use. Got a video going into it in detail on the channel:
Scripting Macros in Keyboard Maestro
ua-cam.com/video/LpTHbT9h_IA/v-deo.html
When I have to work on windows then I can recreate this on my stream deck:)
@@theavidassistant Much appreciated man, keep going the awesome work. Kudos from Brazil
Thanks 🙏 😊
If you subclip only the sound mixed track, how does the turnover for pro tools work? I mean, will they receive all the tracks once you export the aaf? or do you have to reinsert the other tracks before exporting the aaf?
I was actually answering this very question to one of the Patreon users the other day! So back in the day I'd lay back on all the other channels before doing the sound turnover. It took ages! But that guaranteed sound had it on their timeline at the other end.
HOWEVER I haven't had to do that for 10 years. Nowadays you just hand over the source sound files along with your AAF and the sound facility will do the relink themselves at their end before ingest to ProTools using edit load. Saves time for everyone.
The later videos in AE100 cover turning over to sound and online :))
@@theavidassistant Awesome, thanks. Also, I've never used auxiliary timecodes before, but you mentioned they can be quite useful, could you explain in one of your videos some uses for it?
Oh the uses are endless. Depends on the situation. It's basically a backup timecode field. So you could duplicate the timecode field into your aux timecode and edit it if needed. Or if sound and picture have differing timecode it can be useful there too.
Sure thing though, will make a short video on it soon :))
Love it! I love to see different approaches for all of the different editing tasks. May I return the favor by saying you can expand or collapse the audio Track Control Panel with the tiny left/right-facing arrow that's sitting to the right of the Mas TC in the upper left of the Timeline panel. (It's under the Smart Tool buttons and to the left a little bit.)
Nice! Good to know! I generally have it mapped to a key to flick the track control panels on and off but have just rebuilt my settings and not added that back on yet :)
This is my favorite video yet! I'm hoping you cover multicam dailies at some point. :)
I did it a little bit in a previous video about preparing scene bins but will go into more in the AE100 series. 😊
Can I just say to anyone else who may have got stuck on this, THE SUBCLIPS ARE SUPPOSED TO BE SUBSEQUENCES, you turn them into subclips in the bin with auto sync. I guess the first time I watched this I missed that crucial information and was stuck on it for an embarrassingly LONG TiME.
Jack, I don’t know the definitive answer to this but would you ever - after ingesting your video - rename your clips (via bulk edit) before creating your vision auto sequence? And if not why? What would be the ramifications down the track?
Thanks mate
Definitely not. I (and most folk I've met in post - though not all) never rename the source clips. After sync'ing we end up with sync'd subclips and they will be renamed as per the slate, likely using bulk edit if we have that data in the ALE (though I prefer to do it manually).
Reason comes down to relinking and preserving the source data. Sure that data SHOULD always be in the tape/labroll column but it's still good practice to keep source clips named as per the camera since we will always end up with subclips anyway. I never cut with the source clips. Even if there is no sync sound I'll make a subclip and rename it to keep with this practice.
In terms of ramifications if you alter the metadata of any of the source clips I've seen it break the ability to relink to the source in online before or at the very least cause a lot of hassle getting it to work as we restore that data.
I worked in a post facility before being an Assistant Editor years ago and we bumped into this once or twice.
Thanks for your prompt response mate!
Generally I’ve always created subs from an auto sequence video timeline synced to an auto sequenced audio timeline and would never touch the original ingest media. However, my assistant began renaming the originals and I really had to scrutinize why as I’ve personally never come across any relink issues. But I’m glad you’ve shed some light on this matter. Thanks again.
Nice one.
Thanks Alvin! If you're ever looking for more of this content you should check on the Patreon ;)
My favourite MOS origin story is that it's derived from a German director working in Hollywood who asked for the scene to be shot "mit out sound"
Yes! Forgot about that one! Did hear that back in Uni 😂
When relinking audio from subclips to original 4 channels, what happens to the other tracks if you have a J cut? Does it add another tracks in between?
What do you mean by J cut? I generally deliver my audio to sound like this and they will relink to source tracks in ProTools. It's fairly simple to do the relink at that end and then they have access to the ISOs should they need them. I only use the mix track the whole way through edit.
What if you have a multicam group - can you make the sub into a group clip?
Yup. I demo that in the later videos of the course I believe :)
Can this still work without timecode? That’s why I usually sync based on slate (in points) or waveform.
Yup of course. Part02 of sync'ing video I think shows that as well as a few other sync'ing approaches. I'll use timecode and slate wherever possible but if they don't have matching timecode then yeah it will be replace edit one by one as per the slate clap.
See 6min into Part02 video for my preferred manual way of sync'ing without matching timecode. Marker called replace edit :)
ua-cam.com/video/97z6h1v4zv8/v-deo.html
@@theavidassistantis this better than using the TapeID column? I’ve seen that column used before.
@@BrianMarcWhittaker I normally use the Tape column as I show in my Transcoding for Avid in Resolve video. But the Tape column can't easily be edited or updated in Avid so then I'll use Labroll, Camroll, Disk Label. As long as there's commonality it's not massively important where the data is. Doing Tape is just super easy when you're transcoding in Resolve.
ua-cam.com/video/M8iL7w9BBsk/v-deo.html
The “Mit out Sound” story is correct…that is the origin.
Thank you so much.
Please more of this :)
More coming next week! Plus more exclusive stuff also being prepared to drop on the Patreon page :)
@@theavidassistant Great :)
Quick question: How did you make your script at 16:15 ?
Keyboard Maestro! My go to for scripting. When I need to work on Windows machines though I also have the same script on my Stream Deck.
Got a video on the channel on scripting. Bit long and one of my earlier ones but demonstrates some of the more complex scripts I use :)
@@theavidassistant Thank you dear.
At 27:22 you pressed a keyboard shortcut to maximize the text field to make all the text visible, what was that shortcut?
When you're in the bin, if the view is not showing at the text at any point, select the item or do a select all and then the shortcut is cmd/ctrl + T. This will resize all the columns to the size of the text in all fields.
Sorry I should have mentioned. Do a lot of these shortcuts instinctively now so didn't realise.
nice content! Thank you!
Glad you liked it!
i always (can, yes i can) rename the folders in AvidMediaFiles after dragging the mdb files in bins first. two purposes: 1. now i have meaningful names project wise.(imagine i have 20 projects with over 500 folders in MXF folder, apple folder tags dont work as expected) 2. now folder mdb is locked, so it wont be polluted by any metdata i create in bins. if some assistant has entered wrong metadata in bins, it would not get added to footage folder,(this is pain in the neck, when you try to correct metadata in avid bins but it defaults to something else). so metadata is now only stored in bin itself only which i always can correct or recreate or atleast is empty instead of wrong. and yes i also use picture and sound instead of audio and video, so that video always comes first everywhere, so good to see i m not wrong , you "who actually work in big industry" do the same. and this video is fantastic. though i use pluraleyes because avid does not do sample level sync (it should never otherwise it will be a big mess, creating problems in further post production, avid should stay at frame or perforation level sync always, audio can be adjusted), i often render full day audio as one file, sample level synched and then use ALE from resolve to sync in AVID with auxTC. some people are very fussy here about sample level sync, though they themselves dont understand , but they have an excuse that premiere can do it, why not in avid.
This can be done in Avid now I believe. A while back they added a "sync by waveform in timeline" feature. Works very similar to PluralEyes actually.
I don't use it because almost every time I get media in long form productions, my picture doesn't have any guide audio on it at all, so there's nothing to match to. I'm going to add to this soon by uploading a quick video highlighting the other main methods of sync'ing in Avid, the is just the one I use.
As for renaming the MXF folders in the finder level, I have done it in projects in the past but have found it risky and don't recommend it for newcomers. Reason being is that sometimes you need to rebuild the mdb files by deleting a forcing Avid to do a rescan. If the MXF folders are not named as numbers then Avid won't scan them. Renaming for the scan and then renaming back can be very messy, so I see it as more an advanced method that you should only use if you know what your doing. This being a course aimed at newer assistants, I didn't want to mention it. Though I like what you say about "locking" the mdb files, there are reasons to recreate metadata regularly.
Do you have 20 projects all going at once? Or do you leave the MXFs there for old projects? I like to remove MXFs from a project as soon as I'm finished on one to keep Avid MediaFiles tidy and only containing what I'm using.
@@theavidassistant thanks for reply. yes dailies folders i create always shootdatewise, so for long form i have to keep them. and refresh .mdb are always everything except dailies. graded footage folders are almost all the time refreshed when they come back from baselight or resolve. but never dailies. cheers bro. long live the avid.
So to clarify, you only rename sub clips after you created a duplicate column of the original file name?
Duplicate column of original file name is generally the first thing that's done. I do it as part of my transcoding in DaVinci so it doesn't need to be duplicated in any avid bin. But if transcoding in avid then yes it should be done right at the start into a column like labroll or camroll as this is what will allow you to relink to the source later on. There must be that commonality of source data throughout the chain.
@@theavidassistant Green question, but why not just always duplicate the original file name into tape, rather than labroll or camroll? Would this circumvent the "commonality" issues when linking to camera originals with proxies generated in Resolve (you mentioned this in another proxy workflow video)? Also, do tape, tape ID, labroll, camroll, disk label essentially all serve the same purpose with metadata logging (what about reel?) A short video of what these categories differ (I always get the differences confused) would be amazing :)
@lala4111 All thee categories essentially serve the same purpose. But there may be times when you'd use one over the other. For example:
When transcoding in Resolve you'd always use TAPE since that's the column that the resolve setting can dupe into when transcoding. Can't do it with any other one
When linking clips in avid and transcoding from there you can't use Tape (since you can't dupe into that column. Or TapeID I think). LABROLL, CAMROLL, DISK LABEL etc can all be used when transcoding in avid since these can be duped into and batch edited.
If you are taking the commonality from the camera's ALE file then you'll use whatever column that camera uses. Will do a video on ALEs soon.
@@theavidassistant Thanks so much 🙏
Good morning, how to diference into to group clips and multigroups? Tank you for lessons.
Not quite sure of your question I'm afraid. Are you asking what the difference between them is?
Hello everything is fine? Thanks for the answer, I managed to find it in other searches. Thank you for your content, it is very good, I have an Avid channel in Portuguese, I always watch your videos to study and learn new things about the program.@@theavidassistant
You are v.prolific!
😂 thanks Linton! Glad you're enjoying the videos! More over on Patreon if you're interested! Part02 is already live there as well 😉
Hey Humans, Stop talking and get on with it.