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Workflow: 5D –> Avid MC5 –> AE CS5–> Color 1.5
G’day
I have been known the forum for quite a while but this is first time for me to actually post something here.
Because I actually found most of my questions by search.
But I can’t seem to find a solution for following workflow.
I tried every possible export options from Avid but I couldn’t import anything properly to color 1.5.
Let me try to explain what I’m trying to exactly.
1. Shoot with 5d mk II with 1080 24p
2. Edit with Avid Using AMA
3. Send to Color for grading.
4. Final touch with Adobe AE
5. Final output with DVD studio 4.
I simply cannot find any solution I found a program called Automatic Duck but I can not afford to pay for it..
Please hep !!
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9 Replies
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[David Kim] “1. Shoot with 5d mk II with 1080 24p”
OK…good start.
[David Kim] “2. Edit with Avid Using AMA “
OK….well, not the best, as sure, H.264 is editable in Avid, but it does tend to lag. After a while, it might bog down. Best to transcode to DNxHD after you access via AMA. Here’s why:
[David Kim] “3. Send to Color for grading.”
You can’t send to Color from Avid. You need to first export the cut via AAF, then use Automatic Duck to import that into FCP. Then transcode in FCP to ProRes, THEN send to Color. BUT, you can’t export an AAF of any non-Avid format… read my review, I tested this:
https://lfhd.net/2010/06/11/avid-media-composer-5-a-frogs-eye-view/
[David Kim] “4. Final touch with Adobe AE”
After you go to color, what final touching does this need in AE? Go get to AE you’ll need another Duck product, or export the XML to Premiere, then send to AE. But why? What doesn’t color do for you?
[David Kim] “I simply cannot find any solution I found a program called Automatic Duck but I can not afford to pay for it..”
Then you cannot go from Avid to FCP. Not with the sequence intact. Sorry.
Shane
GETTING ORGANIZED WITH FINAL CUT PRO DVD…don’t miss it.
Read my blog, Little Frog in High Def -
Thank you for your post Shane.
Hmm looks like i definately need Automatic duck.
What do I have to do if I want to finish off @ AE then?
How should I export the file?
Thank you in advance.
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DUck directly to AE:
https://www.automaticduck.com/products/piae/
Shane
GETTING ORGANIZED WITH FINAL CUT PRO DVD…don’t miss it.
Read my blog, Little Frog in High Def -
Here’s something I spotted over on the RED forums a while back.
You can indeed go to Color from Avid by following these steps.
https://www.reduser.net/forum/showthread.php?t=37857&highlight=Avid+Color
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Kris, that works well with RED because Color will reference the raw RED files, and Avid will work with the raw RED files…or transcode them and keep the same name, but then when you lock you can then reference the RED RAW names.
But when you cut with Avid media, Color won’t work. It doesn’t see Avid Media. And please, by all means, try cutting Canon RAW H.264 files for yourself and notice how tough it really is.
But, I wonder if you use AMA to access the H.264, then transcode, can you then relink to the H.264 master media when you lock? OH, but that won’t matter as Color doesn’t work with H.264 media either, does it? I wonder, I’ll have to try that.
No matter what, this all means that you need to test test TEST your final workflow before you start editing…to see if it will even work. Don’t waste time editing one way to only realize “shoot, that won’t work at all!”
Shane
GETTING ORGANIZED WITH FINAL CUT PRO DVD…don’t miss it.
Read my blog, Little Frog in High Def -
Got it. Sorry, for some reason I thought it a Red/Avid question… not sure why I read it that way.
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From H.264 5D files, AMA’d in Avid, then to Color, then to AE, then to DVD Studio 4.
“I can’t seem to find a solution for following workflow.”
For those who stumble across this, this is a very un-realistic.
Your biggest hickup is what you’ve shot on, a 5D, using H.264 files.
Equipment that you ‘apparently’ have on hand, but ‘somehow’ can’t afford Autoduck???
-Avid
-FCP/Color
-AESOLUTION 1:
1. Log-and-Transfer to ProRes 422/422HQ all your media
2. AMA link your ProRes media in Avid
3. Edit in Avid
4. *Lock the edit in Avid
5. Export AAF or EDL or whatever is preferred (I’m still learning these)
6. Use Autoduck to create FCP EDL/AAF/ALE or whatever
7. Import that sequence in FCP
8. *Double check/watch the sequence in FCP to Lock the edit or make minute changes (because you’re referencing to the original ProRes media, minute changes aren’t that big of a deal, but you should have finalized the edit before leaving Avid in the first place)
9. In FCP “Send Sequence to Color”
10. Color in Color
11. From Color, export a master ProRes 422 file.As you noticed with this style of workflow, you only have a transcoding process happening 1 time = lots of win, and that was when you Log-and-Transferred the original h264 files in FCP, that way Color can see the ALE of the sequence containing ProRes media you edited in Avid
Problems with working with AMA’d ProRes in Avid, not any that I’ve run into other than the weird audio thing where it’ll repeat 3 frames and do that for 5 seconds, which doesn’t happen often but can get REALLY annoying.
Solution 2:
1. Transcode all material to DNxHD (either apon import, or…)
2a. Use 3rd party program to convert h264 into DNx
2b. “Fast Import” to Avid’s flawless .mxf environment
3. Cut in Avid
4. Lock the edit
5. Export same as source (quite fast)
6. Convert that DNxHD final version into ProRes
7. Import in Color
8. Finish and export in ColorWith this, you only have a transcoding process happening 1 time but after you export, you have to convert again for import into Color, problem is that’s dumb because you’ll end up with one gigantic clip in color, not individual clips.
If you haven’t noticed, you are battling with Apple’s Color program because they don’t want to use the DNxHD codec (not that I know but from what I’ve read) and because you want to use Avid to edit…
Solution 3:
Some kind of Online/Offline workflow using DV25 as the offline (DV so that transcode times are faster), then re-link to the AMA’d files. Export EDL/AAF/ALE for Autoduck, then into FCP then to Color. I’ve had trouble doing this, I’m currently trying this style myself.
No matter what Avid and FCP just caaanot play nice at all… personally, both companies are somewhat both to blame, however more blame is on Color for not working with DNx .mxf files from Avid, and less so on Avid because of AMA’ing ProRes.
I would cut on Avid any day over FCP, but in this case you’ve got a funky workflow ahead of you especially if you want to correct h.264 files natively, which I might add, is only a 4:2:0 colorspace.
Student, started on Avid, learning FCP. Tapping into online/offline workflows & using XML/EDL between systems.
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[Stuart Haight] “SOLUTION 1:
1. Log-and-Transfer to ProRes 422/422HQ all your media
2. AMA link your ProRes media in Avid
3. Edit in Avid
4. *Lock the edit in Avid
5. Export AAF or EDL or whatever is preferred (I’m still learning these)
6. Use Autoduck to create FCP EDL/AAF/ALE or whatever”BUZZZZZ! This solution gets stopped right here. You cannot export an AAF for Automatic DUck (that only works with AAF files)…because Avid MC Can not export AAF with footage accessed via AMA. It ONLY works with footage that exists in the Avid format…so MXF. The files MUST be in an Avid MXF format in order for this to work.
[Stuart Haight] “Solution 2:
1. Transcode all material to DNxHD (either apon import, or…)
2a. Use 3rd party program to convert h264 into DNx”No need. Access the H.264’s via AMA, then transcode to DNxHD.
[Stuart Haight] “4. Lock the edit
5. Export same as source (quite fast)
6. Convert that DNxHD final version into ProRes
7. Import in Color
8. Finish and export in Color”Now you have one file…take that into Color and it shows up as one file. This needs to be chopped up, but then you have no handles, and dissolves and other transitions get tricky.
[Stuart Haight] “Solution 3:
Some kind of Online/Offline workflow using DV25 as the offline (DV so that transcode times are faster), then re-link to the AMA’d files. Export EDL/AAF/ALE for Autoduck, then into FCP then to Color. I’ve had trouble doing this, I’m currently trying this style myself.
“You are having trouble because it isn’t possible. Again, Avid cannot export an AAF from footage accessed via AMA
[Stuart Haight] “No matter what Avid and FCP just caaanot play nice at all… personally, both companies are somewhat both to blame, “
Because they are COMPETING software. Why should they play nice? But, they are getting closer. Avid now accesses and works with the ProRes format.
Shane
GETTING ORGANIZED WITH FINAL CUT PRO DVD…don’t miss it.
Read my blog, Little Frog in High Def -
I still have a LOT to learn.
Thanks for the info.
I’m trying to get more active in the forums and up my knowledge of Avid and colaberative workflows. When it comes to this stuff I’ll let others explain it.
Student, started on Avid, learning FCP. Tapping into online/offline workflows & using XML/EDL between systems.
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