FORUMS: list search recent posts

Avid AMA Dailies Workflow

COW Forums : DaVinci Resolve

<< PREVIOUS   •   VIEW ALL   •   PRINT   •   NEXT >>
nigel gourley
Avid AMA Dailies Workflow
on Mar 8, 2012 at 7:08:32 pm

Hi there,

Just experimenting...

Anyone have a good workflow for this. We normally AMA link alexa rushes Prores 4:4:4 and then transcode to DNx36 to edit and then relink the AMA to have an RGB Sequence. We wanted something similar but using resolve to convert to Rec 709.

We can convert to REC 709 DNx36 MXF files and we can import those into avid. However we can't AMA those. What we seem to need is to make Quicktimes with a DNx 36 Codec and although we can make other QT's that one isn't an option.

Even if we import rather than AMA into Avid for the offline how would we relink back to the Prores other than manually as they are different filenames.. .MOV and .MXF

The reason for AMA fundementally is so we don't have to import whole files for the vonform. With AMA we can link and transcode which is much quicker.

Any thoughts?


Return to posts index

Joseph Owens
Re: Avid AMA Dailies Workflow
on Mar 8, 2012 at 7:29:17 pm

The other issue that you may have to take into consideration is that Resolve does not pass-through audio.

For some reason, the designers thought that the community would be using this application as a post-production grading tool.

jPo

You mean "Old Ben"? Ben Kenobi?


Return to posts index

Mike Most
Re: Avid AMA Dailies Workflow
on Mar 8, 2012 at 8:04:59 pm

If you use the entire file name - without the extension - as the tape name in Resolve (you have to use the "conform assist" option with the path extraction control string for that) there shouldn't be any problem as long as you're on MC6. In the relink options select "relink tape sources to file sources" and that will allow you ro relink AMA sources.

You can sync any double system audio in Media Composer quickly and easily.


Return to posts index


Michael Phillips
Re: Avid AMA Dailies Workflow
on Mar 8, 2012 at 10:16:11 pm

I would add to MM's comment by adding with all BWF metadata, track info, pullup/pulldown (if needed), timecode conversion (if needed) Mix and ISO tracks selection during sync, resync, etc. Far better than any automated on-set "dailies" system can offer today.

Michael

Michael Phillips


Return to posts index

stig olsen
Re: Avid AMA Dailies Workflow
on Mar 9, 2012 at 8:28:49 am

Nigel,

Why dont you change the source of the AMA-linked ProRes-files before transcoding to 36? No need to use Davinci for this purpose.

Stig


Return to posts index

nigel gourley
Re: Avid AMA Dailies Workflow
on Mar 9, 2012 at 10:45:36 am

I'm not sure what you mean? We wanted to use Davinci so that we could convert to Rec 709 from Log C and also so we could add burn ins at the same time...

N



Return to posts index


stig olsen
Re: Avid AMA Dailies Workflow
on Mar 9, 2012 at 11:05:35 am

I mean that if you work DNxHD 36, there is no need to transform into 709 as DNxHD 36 is only ment for doing offline edits.
If you want to get rid of the flat look on your offline edit, simply set the source of the offline clips to data levels.


Return to posts index

Martin Stange
Re: Avid AMA Dailies Workflow
on Mar 9, 2012 at 9:38:10 am

Hi,

here is my tested workflow:

1. Render the files out of resolve as MXF
2. Copy the MXFs into the MXF-Folder of Avid.
3. Drag and drop the files from the mediatool into a bin.
4. Export all files from the bin as "Quicktime-Reference" (It does batch export everything, when all clips are selected.)
5. Fast-Import the exported Quicktime-Refs again. (only some minutes or less for 1 hour of dailies)
Now they have the "Source File"-Metadata with the right clipname and the timecode is preserved and relinking to the untouched Alexa-Files work.
6. Delete the mediafiles and clips of point 2.

Kind regards
Martin



Return to posts index

Michael Phillips
Re: Avid AMA Dailies Workflow
on Mar 9, 2012 at 1:11:27 pm

I create dailies with Resolve for ProRes LogC all the time for my projects. All I do is use the following syntax in the "Specify Reel Extraction Pattern":

*/%R.%

That way I apply the LUT directly to my offline DNxHD36 and have Avid ready to edit media. If I need additional CDL values, I then merge the ALE into the existing master clips. Having the full filename allows for relinking back to the original files as needed either via AAF or the Char_32 EDL template.

And then I sync as per my previous post.


Michael

Michael Phillips


Return to posts index


stig olsen
Re: Avid AMA Dailies Workflow
on Mar 10, 2012 at 5:49:28 pm

Ok, what have I missed?
Why do you want the DNxHD 36 to be viewed in rec709 as you can change the source levels of the raw alexa files before the transcoding to avoid the flat look?


Return to posts index

Michael Phillips
Re: Avid AMA Dailies Workflow
on Mar 10, 2012 at 6:06:11 pm

Because changing levels is not the same as the LogC to REC709 LUT. Do a comparison between the two and you can see the differences. Also, exporting, linking, and all that is not needed by just making native DNxHD in the first place all managed by Avid MediaFile structure.

I'm just saying what works for me. Better looking images in offline, fewer steps with the advantages of Avid managed native MXF wrapped DNxHD media without the performance issues that may arise with AMA link, and if I transcode, dealing with the additional .new clips, etc. Making nice clean dailies up front with all relevant metadata keeps my editorial very straightforward. And syncing my audio to those clips I an automate my scene/take clip naming while retaining all the BWF metadata. From there, a relink, or AAF, or EDL for any other system is easily managed.

Michael

Michael Phillips


Return to posts index

nigel gourley
Re: Avid AMA Dailies Workflow
on Mar 10, 2012 at 7:48:44 pm

Thanks for all this. To confirm the key thing is using relink between tape and file in V6. Not in 5.5

Once you have made the Dnx36 you are putting them in the Avid mediafiless folder and dragging the database into the bin to get the clips to work.

Then when the offline is complete you are using the tape/file relink option to link back to the prores files. And this can be an AMA relink rather than an import? We need to export for a grade so need to transcode to 1:1 for export. We don't want to import because of the time and storage needed so AMA is a key bit of the process.

I'm also thinking that now we can record DNx on the Alexa then that makes it simpler because the files will just relink in Avid and no transcode is needed.



Return to posts index

Michael Phillips
Re: Avid AMA Dailies Workflow
on Mar 10, 2012 at 8:03:22 pm

Once offline is done, you are exporting an AAF, EDL and pointing to the original ProRes LogC files for final color correction in Resolve are you not? Isn't that where you want to take full advantages of the color correction power of Resolve on the original LogC sources? Why the extra step of a conform/transcode in Media Composer before that?


Michael

Michael Phillips


Return to posts index

Mike Most
Re: Avid AMA Dailies Workflow
on Mar 10, 2012 at 11:35:02 pm

Well, for one thing, Resolve can't recreate typical Avid effects like speed ramps, especially when keyframes are involved. It also doesn't directly recreate things like multiple panels, push on effects, and the like. I know - round trip - but in many cases that's just not practical, nor does it always suit clients, who often wants to watch a finished, feature complete show when they're grading. Using a pre conform approach is very, very common, especially in television series, because it solves all of those issues. And while it's true that things like resizing are much better done in Resolve (infinitely better quality, especially on blowups) that's not always particularly practical, especially if there are a large number of editorial effects or separately supplied VFX shots - all of which would need to be either recreated or accounted for in the conform.


Return to posts index

Michael Phillips
Re: Avid AMA Dailies Workflow
on Mar 11, 2012 at 12:26:57 am

Certainly agree that there are different ways to approach this, and many productions will want to see the grading process in context of the edit - for all the reasons you state including pug-ins, layers, nests, etc. It's the "ol' mileage may vary" of control over the images once multiple streams are treated as one, and each production will decide what brings the best control over the image based on time and budget.

Michael

Michael Phillips


Return to posts index

<< PREVIOUS   •   VIEW ALL   •   PRINT   •   NEXT >>
© 2017 CreativeCOW.net All Rights Reserved
[TOP]