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Using AVID for it's Fluid Morph but with colourspace problems

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Ben Allan
Using AVID for it's Fluid Morph but with colourspace problems
on Jun 13, 2019 at 11:55:42 pm

So I have encoded footage i've been cutting in Premiere. It's Morph tool is terrible so I tried it in AVID and it worked great. The only problem is the that it appears to change the colour space-

When i bring the file back into Premiere it's washed out and therefore doesn't match with the rest of the files?

Anyidea thanks hugely,

Ben


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Shane Ross
Re: Using AVID for it's Fluid Morph but with colourspace problems
on Jun 14, 2019 at 4:26:41 am

What was the original codec? Did you transcode it when you brought it into Avid? What did you export as?

Shane
Little Frog Post
Read my blog, Little Frog in High Def


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Michael Phillips
Re: Using AVID for it's Fluid Morph but with colourspace problems
on Jun 14, 2019 at 11:57:11 pm

The render would have used one of the Avid codecs available, which one and if DNxHD/HR which data rate? How did you export back to PPro?

Michael


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Ben Allan
Re: Using AVID for it's Fluid Morph but with colourspace problems
on Jun 16, 2019 at 9:11:06 pm

I just exported as same to source. But honestly the footage looked washed out before that. The footage is a 422proxy with the LUT baked in. When i dragged in the footage.


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Shane Ross
Re: Using AVID for it's Fluid Morph but with colourspace problems
on Jun 17, 2019 at 6:04:45 am

You shouldn't be doing this with Proxy footage. When you export out of Avid, you lose all metadata linking the proxies to the master footage. If you do this, it needs to be to high res files.

Shane
Little Frog Post
Read my blog, Little Frog in High Def


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Michael Phillips
Re: Using AVID for it's Fluid Morph but with colourspace problems
on Jun 17, 2019 at 1:37:15 pm

A little more detail... I agree with Shane that rendering FluidMotion as a final effect using proxies is not the way you want to go if you have the camera masters available to you. On the other hand, though, you can export the rendered effect as OP1a where the sequence name is the file name you want to you use and the sequence timecode can be defined. This allows you to make new submasters that are real sources very similar to how a VFX pipeline works in an offline/online editorial process. I did this for about 10 shots when conforming "The Iceman" as they couldn't quite recreate the look they fell in love with during editorial:

  • Conform in MC to camera originals for shots needed
  • Mark-in-out in sequence - either subclip sequence to use tracks and marks in export settings
  • Name the sequence or exported file in the manner you want to manage shots -
  • Export OP1a or sequential DPX
  • Relink AMA to export and edit back into the timeline so all AAF/EDL represent the new source.



Michael


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