avid MC5 vs MTS ?

roei z

roei z

Veteran
i've looked around for a clear and precise thread about
the fastest, easiest simple workflow with MC5
and GH1/2 footage. i'm new to this codec and about to buy the GH2.
can someone please refer me to a specific thread concerning this,
or advise me about the best way of making the most of this codec + the Avid MC5 ?
i know there are some problems and the MC5 still not capable of dealing with the codec in a simple way. what are my options?

thanks!!!

P.S - my first main problem, is that my MC5 on PC won't recognize an MTS file at all.... what gives?
 
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I use Avid MC5 with my Gh1(13) files and I import them direct, transcoding them to DNXHD145. They work import and easy. The MTS files from the GH1 do have Dolby AC3 5.1 audio and you will need to register the dolby plugin with avid. You will be prommpted to do so on your first import. If your using the trail version it will work without asking you to register. But If your using a hacked version you might be out of luck, as its a seperate SN for the dolby registration.
 
rigs, I've never seen this dolby registration. How do I go about it? Or can you send me 2 seconds of video so I can do it that way?
 
thanks,

yea, that's what i seem to gather from what i know, but first, how is it possible that my MC5 can't import the file because it doesn't recognize it ?
is there some kind of codec i need to put onto my PC?


2- how long does it take to transcode to DNXHD145 ? it's not fast import is it?
 
i really need some help! even refering me to some higher Avid authority....

just installed the latest MC5 on my PC windows 7 64.
trying again to import some of the MTS we have on vimeo (and playing fine on VLC)
all i get is: this type of mpeg file is not supported !
tried a few project formats but it's all the same.
forums say importing is not a problem and no one writes about that.

please- i am getting my GH2 soon and have to resolve this now.
any ideas?
:(:(:(
 
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well,
i know nobody cares about my problem here :cry:
but anyway just to let you know-
it has been fixed - just needed to upgrade my version fix patch.
 
Just because people don't know the answer, doesn't mean they don't care. I don't think I've ever even tried putting an .MTS file into Avid. Nor do I get them for any work I do. None of the cameras I get footage from shoot that format. So I had no idea... I'd imagine many other Avid editors are the same.
 
that's ok :)
this is where the avid community forum is helpful..
so what's your workflow if you don't use mts?
 
ok, i updated my pc MC5 and now i can import easily.
but i still have a workflow dilemma:
let's say i logged my footage, and renamed it for better identification.
now what?
i can import all my footage in DNxHD 115 and finish editing, post work etc (cons- import time, storage X5)
i can import the footage in DNxHD 36 to save space, work offline. whan finished, i can then proceed to AF and use original AVCHD files..
same as above, but after finalizing edit, make batch import to DNxHD 115 (kind of useless because it will import all almost all clips again)

any tips?
 
workflow 1.

Store each card in a uniquely named folder (use day1 card1 or similar) on a drive that you can import from for offline, then take to your hi-res online and import there. Keep your original imports in their original bins, using a similar naming structure to when you first xferred them to your storage drive. DO NOT rename your original imports. After this, you can then break down your original imports by subclipping them into new bins, where you can rename clips and bins to taste. I usually make a folder called 'rushes' and store all original bins in there. This way, original file structure is maintained, and your avid will know which folder to go to if you have mts files with a numbering conflict (i.e. duplicate file numbers).

workflow 2

For shortform work, let's assume you'll work at hi-res. You can consolidate your finished sequence and take the resulting mxf files to your online, but once again - DO NOT re-name your original files, just in case you need to re-constitute your edit a year from now - could be a commercial that gets re-run, but requires a different set of captions.

Lastly, disk space is cheap. Use the highest resolution you can if you're finishing spots/programmes/idents yourself.

Hope I've been clear!
 
That would be if you're going to a post-production house for finishing - colour grade, fx and so on.
 
I'm assuming you're moving from your own avid and going to a post production house (and another, higher end avid platform like avid symphony) where a specialist colourist will grade your film. For an after effects specialist, you'd probably need to supply them with a hi-res quicktime, or similar.
 
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