Avid AMA Dailies Workflow

[Nigel Gourley]

Thanks for all this. To confirm the key thing is using relink between tape and file in V6. Not in 5.5

Once you have made the Dnx36 you are putting them in the Avid mediafiless folder and dragging the database into the bin to get the clips to work.

Then when the offline is complete you are using the tape/file relink option to link back to the prores files. And this can be an AMA relink rather than an import? We need to export for a grade so need to transcode to 1:1 for export. We don’t want to import because of the time and storage needed so AMA is a key bit of the process.

I’m also thinking that now we can record DNx on the Alexa then that makes it simpler because the files will just relink in Avid and no transcode is needed.

[Michael Phillips]

Once offline is done, you are exporting an AAF, EDL and pointing to the original ProRes LogC files for final color correction in Resolve are you not? Isn’t that where you want to take full advantages of the color correction power of Resolve on the original LogC sources? Why the extra step of a conform/transcode in Media Composer before that?

Michael

Michael Phillips

[Mike Most]

Well, for one thing, Resolve can’t recreate typical Avid effects like speed ramps, especially when keyframes are involved. It also doesn’t directly recreate things like multiple panels, push on effects, and the like. I know – round trip – but in many cases that’s just not practical, nor does it always suit clients, who often wants to watch a finished, feature complete show when they’re grading. Using a pre conform approach is very, very common, especially in television series, because it solves all of those issues. And while it’s true that things like resizing are much better done in Resolve (infinitely better quality, especially on blowups) that’s not always particularly practical, especially if there are a large number of editorial effects or separately supplied VFX shots – all of which would need to be either recreated or accounted for in the conform.

[Michael Phillips]

Certainly agree that there are different ways to approach this, and many productions will want to see the grading process in context of the edit – for all the reasons you state including pug-ins, layers, nests, etc. It’s the “ol’ mileage may vary” of control over the images once multiple streams are treated as one, and each production will decide what brings the best control over the image based on time and budget.

Michael

Michael Phillips