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Project with different Frame Rates workflow
Hi all
As you can probably guess by the subject line, I’m working on a project that has video files with different frame rates. My question is in regards to the workflow. I’m doing the offline edit on AVID, I will then be re-linking the timeline to be sent to DaVinci for grading and then have it sent back to AVID for the final export.
So far I know what I have to do is create separate projects that match the frame rate of the video files, AMA-Link, transcode them into offline quality then copy the Bins containing the AMA-Links and transcoded files into that of the main project. My question is this; once I have edited it and need to re-link to the camera files for the trip to DaVinci, will the clips that have different frame rates to the project be able to re-link to their original camera files with no issues? Or is there something else that I have to do?
I’m on version 8.3.1 if that has any effect on proceedings.
Thanks,
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10 Replies
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hi adam
once you transcoded your ama-link it will changed your tape name and codec man, you cant re link with your master tape for trip.for frame rate depends on your project setting in avid, for instance in avid if you are project setting 1080 25p, and your media is 30p definitely it won t work in resolve,resolve will automaically change the fps rate with your permission. you should have to set the avid project in a correct manner then only it will work with out lag otherwise resolve will give you fps prob… all the best. 🙂
regards nandhakumar
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A transcode process does not change the Tape Name or Source File name. I believe that starting in 8.3 (but definitely in 8.5) is the ability to preserve original clip rate and resolution from a single project. Or you have the option to transcode to project rate which will convert the frame frame.
You will need to look at how you want to finish and adjust the workflow at that phase of the project. For example, edit proxy with different frame rates, conform in Media Composer to camera originals, then transcode to a mastering codec converting it all to the same frame rate, then do your roundtrip.
Something to note with that process is whether or not you like Media Composer’s quality for frame rate conversion.
Michael
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I don’t want to convert the frame rate as some of the footage is in slow motion, it also comes up with the message; “Because the new edit rate does not match the original clip, you cannot batch capture, batch import, relink or link (via AMA) to these new clips”. Which I will want to do as I need to relink to the camera files in order to send it to DaVinci.
Unfortunately my computer isn’t powerful enough to edit directly with the AMA-Links, which is why I’m transcoding everything to DNxHD 36 for the Offline edit.
I should have mentioned that my project format is 1080p/24. I have read that apparently one way of doing it is to change the project format to UHD. Link to the files with different rates, do the transcode there as it has the option to maintain the source frame rate, then swap back to the 1080p format. Is that a viable option?
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It can be a viable option as you are only changing the codec from DNxHD to DNxHR. A few years back I wrote a blog about relinking across projects with different frame rates which you may find useful:
https://24p.com/wordpress/?p=22
Michael
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I just did a quick test. 1080p23/976 project. AMA linked to different frame rates and resolutions. Transcoded keeping original frame rate/resolution (source dimension – DNxHR LB). Exported AAF of mixed frame rates, brought it into Resolve, color corrected, exported out as DNxHR preserving source frame rate and resolution. Brought it back into MC, and other than codec, all else is the same – easy-peazy for relink.
Michael
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Okay. Sorry to be pedantic but I just want to ask a couple of questions so I can make sure I’m doing this 100% correctly to avoid any headaches for later on. As you can probably tell, I’m still learning!
1. This was done with the method of switching from 1080p to UHD and back to 1080p after transcoding (whilst maintaining the source frame rate)?
2. I’m probably missing a detail or misreading things but I was under the impression that one had to relink and transcode the timeline to a higher quality before it gets colour corrected? I don’t mean to question your knowledge as you clearly know what you’re talking about but maybe I’m misunderstanding what you’ve done here?
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There are several different workflows you can take on depending on what you to do. My test was only to prove that you can take a sequence of mixed frame rates and resolutions via AAF to Resolve, conform, and color correct and send back same frame rate and resolution using the source clip method. This can be done by editing AMA natively the whole time, or via a transcode. It shows that in all instances the source file, resolution, and frame rate are perfectly maintained.
As far as transcoding and you want to transcode to a higher DNxHR resolution, you need to be in a non HD project. WHy? I don’t know, kinda stupid. But since I was showing a conform back to camera originals, I was fine with DNxHR LB which is available directly from my HD project and preserves frame rate and source irresolution, but only as DNxHR LB.
I then exported an AAF from the AMA linked media as well as one from the transcode media and both imported, and conformed. I color corrected and crated new DNxHR media, but this time high quality DNxHR HQ from Resolve as these are now my new masters. Brought them back into Media Composer and original sequence relinks for me to whatever finishing I may need to get done. This assume MC is the final step in mastering and delivering. There will still be a final frame rate conversion done to whatever your delivery is going to be.
Michael
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My original plan of attack was once I had relinked to the camera files and created a new timeline I would then transcode the timeline into MXF 1×1, as that was basically the highest quality available and then have it sent to resolve. Those MXF files would then be graded as it were and then I would bring the colour corrected files back into AVID.
What I understand from what you’ve written, is that you relinked to all the camera files via AMA-Link but didn’t transcode them. Then sent that timeline via AAF to Resolve and because it’s linked to the original camera files, you were able to colour correct them and then you transcoded them to a high quality to be brought back into AVID. Is that correct or have I completely misunderstood?
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You understood correctly – I exported both an AAF from a sequence that was AMA linked and another AAF test exported from a sequence that was transcoded. In all cases the conform worked for mixed frame rates and resolutions.
How you choose to work and when and where transcoding is done is entirely up to you. It all depends on the footage type, etc. Some prefer correcting from the camera originals especially if they are RAW formats, etc.
Also, MXF 1:1 is not necessarily better than 175x at 1080, but you’re just taking up a lot of storage space.
Michael
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Okay great. A large amount of the footage is in RED RAW format so I guess it’ll be better to go for the AMA-Linked method.
Thanks for all your advice and patience Michael! Much appreciated.
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