Latest post Mon, Jan 6 2014 1:06 PM by reflex980. 6 replies.
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  • Sun, Jan 5 2014 8:09 PM

    • reflex980
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    D.I.T. workflow arri & red

    Hi everybody. I've just look 'round by the forums here but i've some difficult finding what I need.

    As D.I.T. sometimes productions asking me to give an mxf transcode of the footage to the post house, and I just wanna be sure to send the material the perfect way.

    I'll send an hard drive whit te Avid MediaFiles/MXF/(number of the shooting day)  at the root level. I've just tried to ceck my transcoded files into Avid and everythings works fine. But my dubt are about the "round trip"

    On first, if I shoot on alexa I do my transcodes whit davinci, both prores4444 or arriraw,  and deliver in dnxhd36. I think my workflow in davinci is correct to preserve clip names timecode and metadata, but Iìm not sure about additional files like .ale .xml or similar that I've to send too. If I shoot prores the Alexa will generate an .ale file, how I've to use it? I've to copy it in the mxf subfolder or what? This .ale is needed to relink the dnxhd i've created in Davinci to the original prores footage,right? How this process works? (this is not my job but I just want to understand and do things thr right way)

    If the footage was arriraw I'll do the same kind of transcode, but what about .ale? Whit the arriraw folder structure just an .xml is coming, what I've to send to the editor?Maybe I've to generate .ale or something in Davinci?

    For the RED one,epic or scarlet is supposed to be easyer...if one have a redrocket card! I have not and as you know redcine is a good tool but it's really slow. Anyway, using redcine you can create a dnxhd whit .ale, and I suppose I have to send them the same way as above... But I know there's another way via Avid to create dnxhd from the proxies .mov of the camera (by creating them in redcine if you're not using a red one camera) doeas anybody knows about this workflow?

    I'm so sorry but i really need to know how things works step-by-step.

    Thanks everybody for your patience and help!!!

  • Sun, Jan 5 2014 11:17 PM In reply to

    Re: D.I.T. workflow arri & red

    reflex980:
    If I shoot prores the Alexa will generate an .ale file, how I've to use it?
    In Avid Media Composer, open a (new) bin, choose File->Import, click Options, choose ShotLog, select "maintain events as logged", then import the ALE file (which is just a tab-delimited database file containing metadata for events/clips). This will populate the bin with clips. The ALE likely carries some more metadata than the mediafile itself can contain.

    reflex980:
    This .ale is needed to relink the dnxhd i've created in Davinci to the original prores footage,right?
    Not really. It's just the metadata for the clips. But Source Tape (filename) and source TC are needed for the relink, and those are carried in the mediafiles themselves.

    reflex980:
    redcine is a good tool but it's really slow.
    Depends on the settings you use. Go for 1/4 Debayer for offline, should be fine, much faster than a full Debayer. More and faster cores is better. More RAM is better.

    reflex980:
    I know there's another way via Avid to create dnxhd from the proxies .mov of the camera
    Don't do it. Messy workflow, IMHO.

    Media Composer /w Symphony option | PT-HD | Win7Pro64 HP | OSX MBP | ISIS5000 | Nitris DX | Artist Mix & Transport & Color | AJA T-Tap | Decklink... [view my complete system specs]
  • Mon, Jan 6 2014 2:45 AM In reply to

    • reflex980
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    • Joined on Sun, Jan 5 2014
    • Posts 3
    • Points 45

    Re: D.I.T. workflow arri & red

    Thank u very much Job, this helps me to better understand how the machine works. But I can't get, at this point, how the .ale works whit the transcoded file I've made in da vinci. You mean the .ale needs to be in the same folder of the dnxhd clips (transcoded) and those clips needs to preserve the original timecode and clip name? So .ale works when is into a folder whit clips whit the right names indistinctly for pro res or dnxhd? Is just a way to import faster the files into a bin then use media tools options? Or maybe third parts programs are faster to create dnxhd than Avid? I'm tryng to understand the MEANING of this choices too.

    In the practical way I've just to create the Avid MediaFiles folder on the drive for the post and put the transcoded files there whitout think about ale and other reference files? I've heard peoples says they prefer to send a bin folder whit the Avid MediaFile folder to allow faster and easyer start for the editor, does it make sense for you?

    Thank you very much, I begin to see some light into this *** darkness! ;-)

     

  • Mon, Jan 6 2014 7:38 AM In reply to

    Re: D.I.T. workflow arri & red

    Normally you import an ALE to a bin to create Master clips (that contain the metadata the mxf transcoded files may not have)

    The MXF media files you have then copied to an Avid media files folder can then be relinked to those master clips (that often happens automatically)

    The ALE serves the job of populating the masterclips with metadata the mxf files maynot have carried across.

    However especially for Red files (and now we have an alexa AMA plugin as well) it's much smoother using MC to do the transcoding. For red as Job says lowering the render setting from it's daft full setting to a lower setting will speed up the transcoding. And we now have background transcoding as well.

    The advantage of doing it in MC is a more robust workflow. Access to the RAW sources for pre transcode grade tweaks. And more.

     

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  • Mon, Jan 6 2014 9:25 AM In reply to

    Re: D.I.T. workflow arri & red

    reflex980:
    You mean the .ale needs to be in the same folder of the dnxhd clips
    No. It's just a separate file for import into MC.

    reflex980:
    I can't get, at this point, how the .ale works whit the transcoded file I've made in da vinci.
    Pretty sure DaVinci lets you generate an ALE as well, which I would then use instead.

    reflex980:
    Is just a way to import faster the files into a bin then use media tools options?
    It may also carry across additional metadata.

    reflex980:
    I've heard peoples says they prefer to send a bin folder whit the Avid MediaFile folder to allow faster and easyer start for the editor, does it make sense for you?
    Yes, if you would import the ALE into a bin, with master clips linked to the transcoded media, that bin would save the editorial department a small step.

    Media Composer /w Symphony option | PT-HD | Win7Pro64 HP | OSX MBP | ISIS5000 | Nitris DX | Artist Mix & Transport & Color | AJA T-Tap | Decklink... [view my complete system specs]
  • Mon, Jan 6 2014 9:27 AM In reply to

    Re: D.I.T. workflow arri & red

    Pat Horridge:
    it's much smoother using MC to do the transcoding
    I disagree. Lots of options in DaVinci for creating dailies that you cannot have in MC (burnins and what not).

    Pat Horridge:
    The advantage of doing it in MC is a more robust workflow.
    Very much disagree. The ONLY scenario where it is a small advantage is if they would be finishing in MC (and even then the new relink options give you a chance to quickly and easily conform between Tape and Source File). Not a common workflow in my part of the world. I usually get third-party generated dailies, then offline from those, conform is then done in 2K/4K high end rooms.

    Media Composer /w Symphony option | PT-HD | Win7Pro64 HP | OSX MBP | ISIS5000 | Nitris DX | Artist Mix & Transport & Color | AJA T-Tap | Decklink... [view my complete system specs]
  • Mon, Jan 6 2014 1:06 PM In reply to

    • reflex980
    • Not Ranked
    • Joined on Sun, Jan 5 2014
    • Posts 3
    • Points 45

    Re: D.I.T. workflow arri & red

    Ok, I'll get a look today and trying to do it the effective way, thanks everybody, I'll let you know 'bout progress.

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