Avid MC 7 & Davinci Resolve 10 workflow question

[Job Ter burg]

Ah, yes, that is what I meant.

[Zoe Westley]

We’ll be bass in PAL based countries throughout, so I thought it best to stick at 24fps.

Thanks Michael and Job, your advice is much appreciated

[Michael Phillips]

You are correct, just wanted to make sure.

Michael

[Zoe Westley]

Hi Michael and a job

I have another question about this workflow, for time saving reasons production want the data wrangler to upload h264 QTs of the shoot to the cutting room overnight instead of mxf files.

I’ve always worked with mxf files so was just wondering what problems might occur. Obviously the upload and download traffic will be crazy.

Thanks Zoe

[Zoe Westley]

I just wanted to add I know that h264 aren’t native to avid and that in the past editing with QTs was sluggish and prone to crashes. That’s why I’be always worked with mxf. I just wondered if it’s still this way

Thanks

[Michael Phillips]

Transfer times is one of those functions in the new world of digital delivery that is seldom considered ahead of time without the good, fast, and cheap (pick any two) rearing its head(s). Especially when sending over ordinary consumer type connections. Theoretical and practical limits are very different and productions always shoot more than they say they will (Oh, has that camera been running the whole time? They can just cut it out later…). Dedicated and accelerated connections cost money and have found that most productions do not consider these costs as the internet is everywhere and free if you go to Starbucks or form the hotel! 😉

That being said, H.264 can be an AMA linked for editorial, but performance will be questionable, especially in the amount of hours you seem to be hinting at. MC7 does have an 800Kps codec available when using Sphere, but have found no way (yet) to make it native and MXF wrapped from a third party dailies system. At best it would be an AMA link and consolidate processes, but I fear if the encoding specs do not match exactly, then it would be a decode/encode from a very compressed codec to start with. MC7 also support a 2Mbs H.264 codec, but for some reason not in 23.976/24/25 project types. I have asked why, but have yet to get a response.

The 800 Kps can be pretty ratty looking depending on complexity of detail in the image. It is designed to be used as part of the Sphere remote editing option that sits on top of Interplay which sits on top of ISIS.

Another consideration, but perhaps too late at this stage was to do the film in SD at 14:1 in an 23.976/25/25 type project where the file size is closer to 3x smaller than DNxHD 36.

There would be multiple steps that may or may not work to start with the H.264 and then relink to the DnxHD36 whenever it arrived. You would have to manage the metadata on the H.264 at the front end (the DIT) to possibly have a shot at it being a more seamless relink process.

Michael

[Zoe Westley]

Great thanks Michael, that’s more or less what my thoughts are. I’m going to ask production to stick with the original plan. It’s a solid workflow.

Take care

Zoe