replacing proxies with colored footage issue
Hi all, I'm a first-time poster here; hopefully this is posted in the correct area. I've done searches on this through this forum and the Avid Community but haven't found a prior post that handles my exact situation.
The entire project was shot on a RED Scarlett-W in R3D, 5K. Editing on a Mac. Colored on a Windows in Resolve.
I'm trying to replace my picture-locked timeline that currently has 2K proxies with colored UHD ProRes footage I've gotten back from my colorist. For clarity, the 2K proxies were made in Resolve off the original R3D footage (not the in-camera proxies).
The major issue is that my colorist requested an EDL and reference export of the timeline without any effects, and I had edited using around 2 dozen or so timewarp and fluidmorph effects. So I duplicated my timeline, removed all the effects, and stretched out my clips in order to give me what I thought would be enough handles to make some of my timewarped (slowed down) footage, since the final edit would be using more frames. This "coloring" timeline was exported as his reference file and the EDL was made from it too. My thought was that on replacement of the proxies, Avid would use the source TC to know which sections of the colored footage to drop in the picture-locked timeline and I would just need to re-render with the new footage and that would be that.
But now the DPX and ProRes footage has come back to me and both have extra characters in their file names. Not sure if this is normal, but I think it's making it impossible for Avid to replace the proxies with the colored footage in my actual picture-locked timeline (not the "coloring" timeline that I removed effects from and manually made handles in) . And I don't think I can just import an AAF from him, since it would correspond to the "coloring" timeline, which is now useless to me. Pretty lost here, but would I need him to either copy/paste the nodes/color corrections onto a new Resolve timeline that reflects my actual, picture-locked timeline, or manually line up all the new footage to the proxies and delete the proxies one by one, or something simpler?
[Sam Stephan] "And I don't think I can just import an AAF from him, since it would correspond to the "coloring" timeline, which is now useless to me."
This is how things work...you send an EDL that references the cut, the colorist then imports that, links it to the camera masters, renders out new media, and gets that new media and AAF to you that you then import and have a new sequence that references that media. There is no way to link your old sequence to that new media.
If you had speed changes, you should have made note of them and given those to the colorist so they could replicate the effect. You should also provide a timecoded reference QT file with all the speed effects in place so that they can see where it should start and end. Did you communicate with them that you had speed changes and that those needed to be done in online?
[Sam Stephan] "So I duplicated my timeline, removed all the effects, and stretched out my clips in order to give me what I thought would be enough handles to make some of my timewarped (slowed down) footage, since the final edit would be using more frames."
Not sure I get this. How can you stretch out the clips and maintain the total running time, and look of the piece? Did the colorist get the timeline, but in the sections where you sped it up, suddenly they had a realllllllllly long clip to grade, and then send back? Sorry, this really confused me.
You really should be talking to the colorist and explain about these speed changes and ask what they need in order to accommodate them and make them work.
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Shane-- my colorist is early on in his career too and hasn't worked with the Avid workflow much in the past so it was left up to me to make a plan for the workflow based on what I could find around online. I thought that one of the relink, decompose, or batch import functions would end up doing what I needed, but apparently I was wrong. This is my first time doing the Avid-Resolve roundtrip too, so you only make this mistake once, I guess.
My timewarp speed effects were keyframed very precisely, which is why I never wanted to have my colorist try to replicate them in Resolve. And from what I've been told by other people, there was a way to still render out the speed effects in Avid for the final export.
Should I have replaced my proxies with the R3D files, rendered the speed effects/fluidmorph, then deliver that AAF and reference vid to the colorist?
[Shane Ross] Not sure I get this. How can you stretch out the clips and maintain the total running time, and look of the piece? Did the colorist get the timeline, but in the sections where you sped it up, suddenly they had a realllllllllly long clip to grade, and then send back? Sorry, this really confused me.
That's right. The timeline I delivered to him didn't have the same running time as the picture-lock. Like I said, I was hoping that those few extra-long clips would just populate the missing clips in the picture-locked timeline by following source TC.
So the choices now are to either manually aligning and replacing the proxies with the colored footage, clip-by-clip, or have the colorist copy all his corrections over to a new AAF from my picture-lock? Something else?
Did you get an AAF back from the colorist? If so, can you import that and link to the colored material so that you now have the "colorist" sequence all linked and color timed?
If you can get that far, then it seems you would just have to make the timewarps and other effects again manually using the color timed media to match your old sequence.
This is the whole idea of the Avid round trip method inside Resolve.
If you send the colourist an aaf, and they link to camera originals, color, and do an export using the avid aaf roundtrip preset, then they should be able to provide you with a set of shots, coloured, plus an aaf that you can load back into avid, and you should have a timeline that looks exactly like what they sent you, but with colour added.
(you place the media they send back into your avid mediafiles folder, and get avid to build a database for it.)
Any colour effects you did in Avid will have to be removed, as they would now be added to the colour that he/she did.
Any speed effects you did should be in place as the Resolve "individual clips" output does not render time warps, but the original length of the shot-pre timewarp. The aaf they provided back retains the original timewarp information, and passes it through to your timeline.
Any resizing your did in Avid should also be retained on the new aaf timeline, as long as they did use size changes when importing the list. If they did, you may need to remove those effects. (been a while since i did this workflow)