I'm working on a documentary project 10 years in the making where three different editors (and perhaps more people?) have ingested/imported/cut on. That said, I'm responsible for turning over this movie for color and sound. I'm working out of Avid 8.9 with the project format at 1080p/23.978.
My main concern (for now) is color. I spent two days rebuilding *most* (still tracking down the rest of the raw media, including digitized tapes and lots and lots of photos) of the AMAs and did a test relink. That appears to be okay, however I noticed that a quarter of the movie was shot with DSLR and cell phone footage, both of which don't have timecode and were subsequently imported into Avid, as opposed AMA'd then transcoded. What am I supposed to do with those for color prep??
My intitial plan was to relink via AMA the parts of the movie I can and then transcode those to DNxHD 175X for the colorist (who is working out of some version of DaVinci Resolve). Then I would batch import the DSLR/cell phone footage and photos to DNxHD 175X as well. In the end, *my hope* is to have a sequence that is fully transcoded at DNxHD 175X, and then export an AAF linked to the transcoded media for color.
When I touched base with the colorist offering this, he said that he wanted the sequence linked to the raw media. To me, that sounds like an absolute nightmare, considering I've got a Frankenstein of transcoded and imported footage on my hands.
What can I do in this situation? I really think my solution is the most efficient and cleanest hand-off.
Trust me we all want the RAW media but what do you do if you don't have the resources is the question.
Im on the other end where Im grading a feature with a mix bag of Avid formats :P
The client lost all the RED RAW files so Im stuck with files that dont match in Resolve well.
You would think that if blessed with Avid the many flavors of DNxHD/HR would work.
What format did they use?
As long as its not lower than 100 I am sure its fine IMHO.