Latest post Wed, Mar 1 2017 2:23 PM by James Smith. 17 replies.
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  • Wed, Feb 22 2017 3:30 PM

    • James Smith
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    Avid Media Composer to DaVinci re-link imported proxies to original source footage

    I have an offline sequence within AMC using imported Canon DLSR footage at DNxHD36 resolution. When I output an AAF, the clips are referencing the MXF files on my drive, rather than the source footage files (which will be required by the colourist using DaVinci).

    So, the colourist (who is in a different country) has the hard drive with the original footage, but on receipt of my AAF, cannot re-link to the source footage (the sequence clips reference the MXF files).

    I did not use AMA linking from the outset (maybe I should have), but does anyone have a solution so that the colourist can import the AAF sequence and grade using the full-res source clips?

    Avid Media Composer 8.3 running on HP Pavilion G6, Windows 10. [view my complete system specs]
  • Wed, Feb 22 2017 7:33 PM In reply to

    Re: Avid Media Composer to DaVinci re-link imported proxies to original source footage

    Deosn't the colorist just add the source media to the media pool first. then import the AAF choosing to link to the media pool?

     

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  • Thu, Feb 23 2017 5:43 AM In reply to

    • Mondo
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    Re: Avid Media Composer to DaVinci re-link imported proxies to original source footage

    James Smith:

    I have an offline sequence within AMC using imported Canon DLSR footage at DNxHD36 resolution. When I output an AAF, the clips are referencing the MXF files on my drive, rather than the source footage files (which will be required by the colourist using DaVinci).

    So, the colourist (who is in a different country) has the hard drive with the original footage, but on receipt of my AAF, cannot re-link to the source footage (the sequence clips reference the MXF files).

    I did not use AMA linking from the outset (maybe I should have), but does anyone have a solution so that the colourist can import the AAF sequence and grade using the full-res source clips?

    I think you will have to relink your sequence first to the originals and then export the AAF.. that should work. You did keep your originals didn't you?

     

    HP Z820 16GB RAM Winx64Pro SP1/Xeon 2620 x 2/Quadro 4000 NitrisDX, Fiber client Unity client 5.3 Build 15440, 4 bay SSD dock (Addonics) Custom build: Asus... [view my complete system specs]

    John

    Can we go back to the way audio nodes used to be selected? Please? ie if you have audio nodes at the same time on selected tracks; then selecting 1 audio node selects them all at that time. Having to shift select nodes or add an in and out is time consuming and counter productive. At least make it an option.

  • Thu, Feb 23 2017 6:57 AM In reply to

    • James Smith
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    • London, UK
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    Re: Avid Media Composer to DaVinci re-link imported proxies to original source footage

    Yes, I did keep the originals, thanks, however, that is really my question: how do I re-link to the originals prior to exporting the AAF? Using the re-link command seems to re-link to the MXFs. So if, for example, I wanted to change the project to another disk, re-linking would get the MXFs back online. I think - unless I'm missing something here.

    Avid Media Composer 8.3 running on HP Pavilion G6, Windows 10. [view my complete system specs]
  • Thu, Feb 23 2017 7:01 AM In reply to

    • James Smith
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    • Posts 14
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    Re: Avid Media Composer to DaVinci re-link imported proxies to original source footage

    I think the problem is that the AAF I'm providing to him reference MXFs on my hard drive. So, when he imports the AAF, it's trying to reference those, and not the camera source footage (which is mirrored within the rushes folders on his hard drive).

    Avid Media Composer 8.3 running on HP Pavilion G6, Windows 10. [view my complete system specs]
  • Thu, Feb 23 2017 5:21 PM In reply to

    • jef
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    Re: Avid Media Composer to DaVinci re-link imported proxies to original source footage

    In the Resolve AAF import dialog there is a check box for Link to Source Camera Files.

    BUT, you say you did not AMA link at the beginning.  This may be your downfall.

    How did you get media into the project?  If you used the "Classic" Import method, you are out of luck.  This method does not keep track of all the metadata that an AMA Link does.

    The prefered method is Link > Consolidate (if possible) or Transcode > Edit > Provide Resolve the AAF with cam originals > select Link to Source Camera Files.

    This workflow keeps track of rhe orginal file names and locations in the metadata, allowing Resolve to find and use it.

    Jef

    Avid DS 11.0.2 R.I.P | MC "Well, it depends ..." mostly 8.12.9|OS 10.14.x - iMac Pro 2019 - home system MacPro Dual 2.8 8core GTX680 "Harpertown"... [view my complete system specs]

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  • Thu, Feb 23 2017 5:32 PM In reply to

    • James Smith
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    Re: Avid Media Composer to DaVinci re-link imported proxies to original source footage

    Thanks, Jef. Yes, the files were imported, so I could have a problem! Having said that, I'm sure there must be a workaround, since many editors import using DNxHD36 for offline editing as opposed to AMA.

     

    Avid Media Composer 8.3 running on HP Pavilion G6, Windows 10. [view my complete system specs]
  • Thu, Feb 23 2017 8:33 PM In reply to

    • mjolnarn
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    Re: Avid Media Composer to DaVinci re-link imported proxies to original source footage

    James Smith:

    the files were imported, so I could have a problem! Having said that, I'm sure there must be a workaround, since many editors import using DNxHD36 for offline editing as opposed to AMA.

    And you are all of you using an uncorrect workflow unfortunately, I´m not aware of any workaround myself, learn and redo

     

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    Tomas 

     

  • Thu, Feb 23 2017 9:31 PM In reply to

    Re: Avid Media Composer to DaVinci re-link imported proxies to original source footage

    How long and how complex is your timeline? 
    For relatively straight forward timelines I use the following. This normally takes me 3 to 4 times the length of the timeline (of boring repetition) to do.

    AMA link to all sources (in a new bin for each source?) then use
    T key to Mark a shot in the timeline
    Q key to go to Mark In. (have large TC window setup to show source track timecode)
    Match frame.
    Find bin.
    Open equivalent AMA source bin and the select AMA clip.
    Type in source TC and mark in.
    Patch Source tracks to empty video and audio tracks and B key edit the source in.  (The empty track only required if you want to easily apply existing Timeline FX to the AMA replacement clips.)

    When done load proxy edit in the source monitor and edit the AMA clips into a new timeline. If appropriate I would give all the AMA clips one unique clip colour so a quick visual check confirms I have replace everything.

     

     

  • Fri, Feb 24 2017 8:02 AM In reply to

    • James Smith
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    Re: Avid Media Composer to DaVinci re-link imported proxies to original source footage

    Hi Andrew

    Thank you for those details, which I will study. The sequences are reels of a feature film, under 20 minutes each and simplified down to just one video track with no transitions, effects, etc. I'm no expert on AMA, but I assume that your process somehow allows me to work within my Avid project (of imported proxy footage at DNxHD36), and then add AMA links in order to re-link to the original camera footage?

    Many thanks,

    James

    Avid Media Composer 8.3 running on HP Pavilion G6, Windows 10. [view my complete system specs]
  • Fri, Feb 24 2017 8:27 PM In reply to

    Re: Avid Media Composer to DaVinci re-link imported proxies to original source footage

    James Smith:
    I assume that your process somehow allows me to work within my Avid project (of imported proxy footage at DNxHD36), and then add AMA links in order to re-link to the original camera footage?
    Yes. it is supposed to be workflow details for Mondo's and Jef's suggestions. Making a new timeline where the proxy clips are replaced by Linked (AMA) clips to create a timeline that you can export an AAF that Resolve can link back to the Camera originals.

    Scott Freeman details the AAF export to Resolve process in on of his Blogs here.

    Furher to previous suggestions I would duplicate your existing ReeL timelines into a Bin called Locked cut Linked (AMA)media.
    Load a duplicate in the the record window and make sure you have a v2 track.
    Follow the process below.
    You will end up with V2 containing an exact copy of V1 but with linked media.
    You have a visual check by flipping the monitoring between V1 and V2
    Load this V1 V2 sequence into the source monitor.
    Open a new V1 only (plus audio?) timeline in the record monitor.
    Patch source V2 to Record V1 and edit the entire timeline into the new sequence.

    This is then your timeline for export to AAF for Resolve as per Scotts blog. 

     

  • Sat, Feb 25 2017 5:54 PM In reply to

    • James Smith
    • Not Ranked
    • Joined on Mon, Aug 8 2011
    • London, UK
    • Posts 14
    • Points 190

    Re: Avid Media Composer to DaVinci re-link imported proxies to original source footage

    Thanks, Andrew. Certainly, this seems like a good solution. The colourist was also able to link some of the source footage in a new AAF that I supplied, which had the 'Tape' information added for each clip (I entered the folder name associated with the clip into this field). I had neglected to include this information when importing the clips, and I understand this forms part of the metadata used by external programs such as DaVinci. If we succeed with this approach, it's a workaround, otherwise we'll use your suggested method via AMA. Many thanks.

    Avid Media Composer 8.3 running on HP Pavilion G6, Windows 10. [view my complete system specs]
  • Mon, Feb 27 2017 1:14 AM In reply to

    • Mondo
    • Top 50 Contributor
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    Re: Avid Media Composer to DaVinci re-link imported proxies to original source footage

    James Smith:

    Thanks, Andrew. Certainly, this seems like a good solution. The colourist was also able to link some of the source footage in a new AAF that I supplied, which had the 'Tape' information added for each clip (I entered the folder name associated with the clip into this field). I had neglected to include this information when importing the clips, and I understand this forms part of the metadata used by external programs such as DaVinci. If we succeed with this approach, it's a workaround, otherwise we'll use your suggested method via AMA. Many thanks.

    Yes using modifying each source clip with a unique tape name and modifying your imported clips with the same unique tape names for the matching AMA clip is another way of re-linking to your original source files when you've imported instead of linking and consolidating.

    You can then relink via tape name to selected files in open bins from the sequence but you do have to "hide" all your mxf lo res media from Avid first. I don't guarantee this will work with al media but it does work with some types. 

    Its a painful process though and once you've had to do it you'll want to use the correct workflow before you even start.

    HP Z820 16GB RAM Winx64Pro SP1/Xeon 2620 x 2/Quadro 4000 NitrisDX, Fiber client Unity client 5.3 Build 15440, 4 bay SSD dock (Addonics) Custom build: Asus... [view my complete system specs]

    John

    Can we go back to the way audio nodes used to be selected? Please? ie if you have audio nodes at the same time on selected tracks; then selecting 1 audio node selects them all at that time. Having to shift select nodes or add an in and out is time consuming and counter productive. At least make it an option.

  • Mon, Feb 27 2017 7:39 AM In reply to

    • James Smith
    • Not Ranked
    • Joined on Mon, Aug 8 2011
    • London, UK
    • Posts 14
    • Points 190

    Re: Avid Media Composer to DaVinci re-link imported proxies to original source footage

    Thanks again, Andrew. I've been thinking about the turnarounds with DaVinci, but this seems a complication that is not required for what are basic colour adjustments. Therefore, I might opt for Avid Media Composer (Symphony option) to colour correct, thereby eliminating the need to go outside of Avid.

    I believe, however, that this will still require the relinking to original (full-res) source footage you explain.

    So, in the future, I assume a better workflow (if I wish to work on a low-spec system with proxies) is to trancode all of the footage to the lower-res format, and then go into Avid and AMA link to it? i.e. never use import!

    Many thanks,

    James

    Avid Media Composer 8.3 running on HP Pavilion G6, Windows 10. [view my complete system specs]
  • Mon, Feb 27 2017 9:06 PM In reply to

    Re: Avid Media Composer to DaVinci re-link imported proxies to original source footage

    James Smith:
    never use import!
    . Each of the current workflows have their good and bad points. I suggest trying each way in test edits and seeing which you are happiest with. I keep test projects that I use for testing different media types by Linking/ transcoding and also importing proxies abilities to the actual projects cameras. Test a Linked timeline for playback reliability. Test re-linking and batch importing. Then decide on the way I will work for that particular project.

    FWIW when staying in MC now that AMA/Linking has improved I find it useful for some projects and some media types.
    Link to original media.
    Transcode to low res for offline. 
    Re-link timeline to AMA.
    Consolidate to full res Avid media.

    For most I still prefer to import at proxie resolution for long form projects. Or import at full res for short form projects where the total media size is manageable to save on to backup drives.
    Take the proxies offline. (Move the appropriate number named folder (1?) out of the Avid MediaFiles\MXF\ folder.)
    Batch import the locked timeline to full res.
    For me this gives me easy access these proxies for subsequent use in later projects. (Many projects here have scenic and aerial footage that will always be useful).

     

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