QC Revisions workflow in graded media composer project?
Im in a workflow in which I fully grade shows, roundtrip back to Media Composer and finalize the graded sequence which goes on to a QC with various people in house. When I receive the occasional color notes from this process (warm up so and so's interview, etc) Im stumped on the proper workflow of revising those clips. When our house was on FCP it was very simple as the changes could be made in resolve and the render file would overwrite the current media and FCP would just link to the newly created media.
This isn't the case with Media Composer, as when I overwrite media it goes offline and seems to refuse to relink to the newly created mxf media. Right now Im rendering fixes to a separate folder in my AvidMediaFiles directory and importing that mxf media into a bin and then manually overcutting the new media into my finished sequence, which I am certain is not the best way to deal with this.
Can any of you with more MC experience weigh in on any ways to automatically update my timeline with newly created media? Is there some way to avoid manually importing and overcutting these new clips. Its no big deal with one or two clips, but when an INT shows up 15 times and they want a minor tweak it becomes a chore. Im on 6.5.4 and Resolve 10. Any suggestion appreciated as always.
I am in a bit of a similar situation, but not being a well-versed Media Composer editor I ran this past a colleague of mine, who agrees this is an issue. No simple solution jumps to mind, ie. deleting the .mdb file.
One of the strengths of the AVID media path approach is that it is very hierarchal and its difficult to break or lose media once it has been made part of the family -- which has a second side to it, because it is also difficult to change that relationship. Where clip replacement becomes problematic, even if the re-rendered file has exactly the same basic file name -- it will have a number of different metadata attributes, chief among them the creation date, which will be enough to prompt AVID MC to ignore it.
So far, we are creating bins for revised media and plugging them in one at a time, just like you are.
"I always pass on free advice -- its never of any use to me" Oscar Wilde.
I was afraid of that. My Love/hate for the avid media connection saga continues.
Could you, as you are making the corrections, move the clips to a new layer, render to a new # folder, then export a "new AAF"? That way when you bring it into Avid, you're just over cutting the one track into your existing timeline?
I'm Onlining at a shop that has a Staff colorist and this is very similar to whats being done, so far no issues.
You also get to keep the versions, if, god forbid, someone changes their mind.... Which NEVER happens...
eric b johnson
online editor | colorist | workflow
I think a better approach would be to use the Baselight plugin for Media Composer for color grading than using Resolve in this situation.
When you render mxfs out of Resolve, they should be given the same name each time you render them. If you are doing individual clips, which i assume you are, you should select "give each file a unique name" and render. Now disclosure here...i do this from MC to Resolve to Avid DS, i don't usually go back to MC.
In my situation, if a change happens after i go to DS, i go back to resolve, open that timeline, and rerender the shot to a new folder "changes oct 21' inside that folder is a single mxf file. I then copy it to the folder that contains all the other mxf files that DS is using...the same ones that Resolve spit out the first time, and it asks me if i want to overwrite the file. (this is my check point that i've created a file with the correct name) I over right, open DS and the new footage is there.
i would think the same thing would happen in MC, but, as Joesph said, you would more than likely need to update your database file.
1 question, have you renamed your Avid Media files folder? Say from "1" to "footage from resolve"? If so, your new media won't be recognized until you change the folder back to a number only, and rebuild the database.
As i said, i don't usually go back to MC like this, but i will try a test and see what happens.
I had a chance to run through this yesterday. There does seem to be a bit of a disconnect going back to Avid, but it is a pretty simple fix.
It is possible not choosing "create unique filename" would help with all of this, but that is not possible in many cases. If you are using 2 different sections from the same shot, Resolve will simple overwrite the first instance with any later instances, so (for my money) you usually have to have unique names.
Here is a workflow that should work.
Note, I find this easier to do if all my original Avid media is offline. Lets me know immediately if I've missed a clip or not, so I usually move that projects media out of the mxf/whatever folder- up a level so Avid can't see it.
Render out of Resolve to your 'ClientName from Resolve" folder
Move this folder into your Avid MediaFiles/mxf folder
Rename this folder 888 (something obvious-numbers only)
open your bin with your edit- everything is offline if you moved you media like I suggested earlier.
Duplicate your sequence and move it into a new bin called "final from resolve
Create another new bin called media from resolve.
in explorer or finder, open your 888 folder. Avid should have built a database for it upon launch. Drag that data base (MDB file) into your bin labeled Media From Resolve.
That bin is now populated with all your colour corrected media.
Select all those clips
Go to your Final from Resolve bin and select that sequence.
(Note, you can have items in multible bins selected at the same time)
Right click on the sequence and select relink.
in the relink options, (doing this from memory) choose relink to all selected clips in open bins.
I usually turn off match case sensitivity and turn on ignore extension.
I also usually turn off create new sequence at the bottom.
Hit OK, your timeline should now be online with the color corrected material.
If you've gone and changed 1 or two shots in resolve and rerendered, and then moved and overwritten clips in your 888 bin, Yes, those clips may be offline.
Open your Media From Resolve bin, select all and press the delete button. Tell avid to delete the master clips, but NOT the associated media. This will basically delete the clips from the bin, but not the 888 folder. Then re drag the database file into the bin, and relink.
Everything should be online again, including your tweaked shots.
One of the things that very few people (especially those who aren't normally Avid editors) understand is that unlike Final Cut, Premiere, and a number of other editing programs, Avid does not use the file name as a relink criteria. The media file names are irrelevant. What it does use is metadata, specifically time code and tape name, as the matching criteria. As long as those two items match, the file name can be anything. In fact, you can even change the file name on existing files in the numbered media folder and they will still relink properly. This is a strength and a weakness all in one. It's a strength because unlike other programs, the file names can be changed - whether accidentally or on purpose - and everything will still come up properly. It's a weakness because this is not particularly intuitive to those who think that the file name is critical. So, armed with this knowledge, it should be clear that what is important when trying to create files that will relink in Avid is to make sure the time code is the same, and the tape name is the same. I'm not sure whether the original poster is using a single file, assembled sequence from Avid with an EDL to cut it up, whether they're relinking to original media, or whether they're getting consolidated media from Avid. So depending on what the circumstances are, the trick is to come up with a way to repeatedly generate clips from Resolve that have the same time code and tape name as those coming from Avid. The other option, mentioned by someone else in this thread, is to export a new roundtrip AAF with the new renders. You can then edit that new sequence into a new track in Avid and the new shots will come up in place of the existing ones, assuming you place the sequence into a higher track than the existing material.