• Avid Media Composer

  Canon 5d work flow in Avid how to make online to Baselight

  Posted by Madhukar Devara on March 18, 2011 at 6:02 pm

  can some help me the work flow of canon 5D in avid how to make online to baselight for Colour grading

  Madhukar Devara replied 15 years, 4 months ago 3 Members · 6 Replies
• 6 Replies

• 

  Michael Kammes

  March 19, 2011 at 2:22 pm

  Import 5D Material into Avid. Transcode into the DNX145 family. Since your originating footage is 8bit and 4:2:0, going much higher (220) or going to 10bit (175x, 220x) is a waste.

  Edit.

  Take EDL or AAF from Avid into Baselight.

  Done.

  Editing 5D natively inside Avid will not yield as smooth of an editing expereince as compared to transcoding, and you cannot export a complete EDL or AAF with QT based footage.

  Another route is to transcode the 5D footage to Cineform, THEN transcode to some flavor of DNxHD for your OFFLINE. Edit in MC with the DNX, then use the Avid EDL in Baselight and link back to the Cineform files. Cineform holds up better in post, and you will “lose” less image quality going 5D–Cineform than 5D–DNXHD. This is personal opinion, but there is a reason Cineform works well in the DI realm.

  Good Luck!

  ~Michael

  .: michael kammes mpse
  .: senior applications editor . post workflow consultant
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• 

  Michael Phillips

  March 19, 2011 at 7:34 pm

  I did the latter of what Michael proposes on the last two features I helped with. I went to Cineform first which embedded the timecode into the file so there was no “interpretation” of the timecode by the multiple editing systems being used. Also, the Cineform file became my new master for DI for the reasons Michael mentions.

  If you work directly from the original .mov files, then Avid creates a timecode based on creation date. This is helpful from an organization POV when asking looking for a shot from “last Tuesday afternoon…”

  But if a downstream process doesn’t interpret the same way, you may have an issue with the conform being 1 or more frames off. In that scenario, you can always enter 00:00:00:00 into one of the Aux TC columns and use that for an EDL as it will be a frame offset from zero (head of file) which any system should be able to do.

  Michael

  Michael Phillips
• 

  Madhukar Devara

  April 25, 2011 at 11:20 am

  Thanks Michael Kammes for reply
  only thing i want to know how to lock the time code.when im trying to take EDL there is no proper time code and it did not match with orginal time code of shooted footage.pls help me
• 

  Madhukar Devara

  April 25, 2011 at 11:30 am

  Thanks Michael Phillips for ur replay
  but when i generate new time code is it going to match with original time code
• 

  Michael Phillips

  April 25, 2011 at 2:55 pm

  Depends on how the receiving system interprets the timecode within the file itself. Many systems assume all files start at 00:00:00:00 and count from there. If that is indeed the case, then enter 00:00:00:00 into an AuxTC column for all your sources (use the multiclip entry feature to speed this up) then export an EDL based on that AuxTC column.

  Michael

  Michael Phillips
• 

  Madhukar Devara

  April 26, 2011 at 6:42 am

  Thanks i will try that.

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