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AAF relink issue to prores 422hq files
New to the board as a writer so forgive me. I’ve searched but haven’t found this exact problem. (If there is a thread let me know. ) I’m under the gun. I just finished a Resolve color session. Red camera. The colorist took an AAF from me. He rendered out prores HQ 422 files for me to conform back to the Avid. He gave me an AAF of his timeline which imported fine, media off line of course.
The problem is that I can’t seem to relink those media files to the prores files. Do I have to stick them in the avidmedia folder? I thought that was just for MXF, no?
Running media composer 6.5.2 on a mac. OS 10.8.3
Any tips appreciated thanks.
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4 Replies
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Any reason why ProRes over native MXF DNxHD? I am going to assume the ProRes files are .mov? The only way you are going to get that to work is AMA link to the ProRes, import AAF and do a relink to selected and hope that the REEL ID is consistent between the AAF timeline and the new files.
Look at both TAPE and SOURCE FILE columns for the sequence (clips in sequence) and the AMA Linked clips. Are the the same? If not, how close?
Michael
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Thanks Michael. The AAF & the ProRes files both came from the colorist so the reel & source names should be the same, but I’ll double check.
One more question. Does it have to be AMA? Why can’t I import them as Prores HQ fast import? Or will that kill the meta data?
Also, is there any difference between editing ProResHQ via AMA or importing them as ProrResHQ MXF in general? I did a test and there doesn’t seem to be a gamma shift or any other problems, are there? I need to play this down & tweak it before final export & AMA is so clunky. MXF works better editorially, but I want to make sure I”m not downgrading it in anyway by making them MXF files.
Last thing, I can still EXPORT as a ProResHQ after turning them into MXF files by using same as source, correct? It won’t become some weird Avid ProRes file at that point, will it? (My delivery specs are ProRes).
Thanks again.
– b
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Thanks Michael. The AAF & the ProRes files both came from the colorist so the reel & source names should be the same, but I’ll double check.
One more question. Does it have to be AMA? Why can’t I import them as Prores HQ fast import? Or will that kill the meta data?
Also, is there any difference between editing ProResHQ via AMA or importing them as ProrResHQ MXF in general? I did a test and there doesn’t seem to be a gamma shift or any other problems, are there? I need to play this down & tweak it before final export & AMA is so clunky. MXF works better editorially, but I want to make sure I”m not downgrading it in anyway by making them MXF files.
Last thing, I can still EXPORT as a ProResHQ after turning them into MXF files by using same as source, correct? It won’t become some weird Avid ProRes file at that point, will it? (My delivery specs are ProRes).
Thanks again.
– b
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They should…but import and AMA insist on adding .mov to the Source File name so you will have to deal with that in the relink dialog box. There is a setting for “ignore extension”.
AMA and import are just two different ways to get into MC – if there was a transcode happening, then AMA+transcode is at least 2x faster than import+transcode. But in your case, if indeed a fast import, then it will be just as fast as an AMA consolidate without the extra .new master clips hanging around.
If on OS X, you can always do a final sequence mixdown to your ProRes delivery format and export “Same As Source”regardless of what the timeline codec was to start with. But if it is all ProRes and rendered, then you should be able to export ProRes without the mixdown.
Michael
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