FCP7 to MC5.5 in the middle of a project

[MichaelP]

Peter -

There is no downside to creating a film project - and I always do for my video projects. 35mm 4 perf will give you the 1/4 frame resync. The only restriction it has is that subclips editing into the timeline cannot be trimmed past the subclip boundary (to protect metadata boundaries of certain logging workflows). I don't know of any timecode issues - you can display 24, 25, 29.97NDF, DF etc, as well as footage for all sources and timelines.

Michael

Michael

[Laura Creecy]

Looks like the batch export only references the video file - not the sound file it is also synced to

[Laura Creecy]

Hey Michael -

I was hoping you could help me with a few questions - I am just relearning Avid again for the first time in 5 years.

I've done a bunch of reading up on the Red/Avid workflow now, and see the two recommended options:

1) Edit with raw R3D in AMA - recommended for shorter for projects because of drive space and play back quality issues
2) Transcoded to MXF (DNxHD36 1080p) and edit with native Avid files - recommended for features and long form because of drive space and playback quality issues

The later is essentially what I had started to do for FCP on this feature. I have 3 weeks of transcodes to 1080p ProResLT and I assume with AMA that I can import those ProRes files into MC5.5 and start to edit with them.

Having to Log and Sync again aside, I want to at least know if I can keep the media thats already been transcoded in the last 3 weeks.

My questions are:

1) What are known playback quality issues with ProResLT files - even though it is a low res file, its not native MXF so would it have the same playback issues as a R3D file?

2) If it is suggested that I keep the ProResLT files I already have because they will playback without problem, should I transcode the last week of shooting also to ProResLT? So as not to have mixed media on the timeline?

or

3) Keep the previous ProResLT files, and transcode the last week to DNxHD36 and have mixed media?

or

4) Scrap it all, and start from the beginning with DNxHD36 media for workflow with proven smooth editing and playback.

Obviously having to start over again is not ideal for production's budget, or the editor who wants to start immediately and wants everything to playback with out glitch, leaving little time for testing.

I am still leaning towards scrapping it all and starting over with DNxHD36 transcodes from RCX unless I am convinced otherwise. In my head having to take the time up front to do it right is far less stressful then having an editor yelling that something is taking too long to render or playback with dropframes because its not native media to Avid.

I won't know the spec's of the editor's system until tomorrow, so maybe playback won't be an issue.

[MichaelP]

Being a feature editor myself, I tend to lean towards the transcode everything up front to a low rez proxy. From that point on, everything is straightforward, tried and tested. Even with AMA to ProRes, you will still need to transcode at some point to make an AAF out for sound folks, etc. Now you are transcoding for that, but need to do it again when you make changes and happened to added another AMA direct link to the project. etc. Also, not having the direct BWF metadata to hand back to sound of needed would cause me some concern. Syncing in Avid is very easy and you're sure to have all the metadata.

So even with ProRes, I am sure you will run into a transcode - and if transcoding anyway, I would just do it right from the original sources.

My two cents.

Michael

[Laura Creecy]

Just an update - we scrapped everything FCP and started over in RCX/AVID retranscoding to DNXHD36

[MichaelP]

Just an update - we scrapped everything FCP and started over in RCX/AVID retranscoding to DNXHD36

The time invested in this will be worth it in the long run.


Michael

[Laura Creecy]

Just ran across this article...same exact thing as us, but we didn't use AMA - we retranscoded - glad to know someone who used the other route successfully.

http://community.avid.com/blogs/buzz...-workflow.aspx

[MichaelP]

AMA can work depending on the total number of sources and expected performance as I mentioned earlier. For myself, I still find transcoding to work better - especially as you start turning over AAF to sound post and as editorial continues - so AAF and Change lists needs to be transcoded each time you add a new shot etc. But AMA to under 20 hours of sources and using EDL to conform works just fine and is my tipping point. There are other consideration as well for transcode such as being on shared storage or multicam editing.

Michael