AMA PRORES 444 workflow….WHAT WOULD YOU DO?

[Paul Provost]

try importing media first

http://www.4Kfinish.com | owner-colorist | Hollywood, CA
http://www.facebook.com/4kFinish

[Andrew Sableton]

Hi Paul,

Do you mean the AMA linked footage or the AVID MXF PRORES 444? I tried adding the MXF PRORES 444 but DAVINCI does not seem to be able to see that media at all….

thx
AS

[Paul Provost]

the original cam footage, then aaf of project.
if you’re still not relinking try unchecking “assist using reel numbers” to see what happens.
then try edl from avid after first importing cam media

http://www.4Kfinish.com | owner-colorist | Hollywood, CA
http://www.facebook.com/4kFinish

[Andrew Sableton]

I see….

So my secondary question to that is, would there be any way to consolidate the footage that I actually need for the project if this works?

There are several terrabytes of footage on the drive although probably only a few hundred gigabytes actually in the final sequence. The production will need their source drive back for other ongoing work on the project and I would rather not have to copy all of that excess media if I don’t have to…..

Thanks
AS

[Joseph Owens]

[andrew sableton] ” transcoding to AVID MXF PRORES 444 but DAVINCI seems unable to see this media. “

Probably because it would be better to encode ProRes as Quicktime .mov, rather than wrap it in an .mxf format… that would be a good place to start.

DNxHD isn’t a bad choice, roughly par with ProRes.

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Paul Provost]

save a self contained movie out of avid and use scene cut detection in resolve

http://www.4Kfinish.com | owner-colorist | Hollywood, CA
http://www.facebook.com/4kFinish

[Andrew Sableton]

But as far as I can tell there is not an option to consolidate and transcode to .mov proves 444 in AVID unfortunately…. unless there is some way I cannot see?

I am using the CONSOLIDATE / TRANSCODE function available when I control click on my sequence in the BIN in AVID.

[Andrew Sableton]

Just doing a thought experiment…..

What do you think of this idea……

1. Export AAF from AVID of AMA linked sequence.
2. ADD all media on original edit drive to MEDIA POOL in DAVINCI
3. Import AAF, do not automatically add media to MEDIA POOL
4. Pray that it all links up correctly in DAVINCI
5. Assuming prayer in step 4 has been heard by the DIVA BLACKMAGIC God, then render out the sequence without any grade on it to my separate drive and export an AAF
7. Remove ORIGINAL EDIT drive from my system.
6. IMPORT AAF into AVID, send out another prayer to DIVA BLACKMAGIC, hope I am linked to the renders.
7. Export a new AAF from my new AVID sequence that should be linked to my DAVINCI renders
8. Import new AAF and hope it links up right again….
9. Grade

In other words, use DAVINCI as my consolidate tool.

I don’t have the drive with me right now so cannot test this but, presuming I can get the AMA sequence to connect up via AAF, I think this workflow makes sense….

Thoughts?

AS

[Hans Vogel]

Best is to consolidate the raw 444 footage. You could use edl spy for this task:

https://edlspy.felixhuesken.de/

Cheers

[Chris Martin]

Instead of using an AAF, use EDL(s). Using EDL manager format as file 32 or file 16 to get full clip name as reel ID. You can first use EDLs to load camera original selects only into media pool to consolidate. If you are referencing external production drives you can then use clip manager to copy the consolidated clips to your local drives. Then use the same EDLs to conform.

EDLs may be limited in what info is under the hood but it is still the most full proof route to go.