Editing Dailies Sync Methods for Avid Media Composer
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Latest revision | Your text | ||
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** synced clips exported as .mxf media | ** synced clips exported as .mxf media | ||
** metadata for audio exported as ALE | ** metadata for audio exported as ALE | ||
β | ** master clips with | + | ** master clips with video and audio brought into Avid Media Composer |
* advantages | * advantages | ||
** ?? | ** ?? | ||
* disadvantages | * disadvantages | ||
** editor is denied access to audio and video proxy files that match original media lengths in a 1:1 relationship | ** editor is denied access to audio and video proxy files that match original media lengths in a 1:1 relationship | ||
β | *** because video and audio captured | + | *** because video and audio captured on set start and stop at separate times resulting in different lengths between video and audio, synced Resolve master clips either have to truncate audio or video or add filler to create an audio/video clip of consistent length |
**** because the audio/video relationship is burned into a single master clip, the Avid editor is unable to match frame back to a proxy of the audio or video showing its original full lenght | **** because the audio/video relationship is burned into a single master clip, the Avid editor is unable to match frame back to a proxy of the audio or video showing its original full lenght | ||
** because video and audio created on set will never be the same length, a synced clip that includes video which is longer in length than audio will compensate the shorter audio by adding silent filler to make up the difference | ** because video and audio created on set will never be the same length, a synced clip that includes video which is longer in length than audio will compensate the shorter audio by adding silent filler to make up the difference |