- February 15, 2018 at 11:18 am
Update to the update. Nope, I was wrong. All the clips simply linked to the same one tiff file. Nrg.
Update. Well, it sort of worked… and I’m not certain how. Once I figure out what was the magic word, I’ll share it here for posterity. Here’s what I know: Oddly, when randomly pushing buttons and pulling levers, I changed user preferences for reel names for conform to source filename, another AAF import relink failed… but it still paid a dividend. The AAF import linking errors this time told me the reel name that DR was looking for. Ah, okay, good intel. So I changed the conform option to Media Pool folder name, and matched the folder name to the reel DR wanted (namely, “BL”, fwiw). I tried another attempt to conform the imported timeline from bins, and re-linking once again failed.
So, blah, sad and defeated I returned to the timeline to begin the arduous task of force conforming one tiff file at a time… and ‘lo and behold, most are linked now. And this is the fun part: I don’t know when in my machinations that happened. Anyway, I hope there are enough ideas here for anyone having similar issues! Cheers – b
—– Original Post Below —-
Cannot link to image files on AAF import…
Actually, I can, if I manually right-click and force conform each timeline clip to it’s associated TIFF file in the media pool. But given there are 351 tiffs, this is untenable. So, what am I not doing? If “Automatically import source clips” is checked on import, then DR cannot find the tiff files in a folder on disk. Unchecked, it cannot find the TIFFs already imported into the media pool.
The error is that timecode doesn’t match. TIFFs don’t have timecode, of course. The filenames in the unlinked timeline exactly match the TIFF filenames. How do I nudge resolve to give it a break and attend only to the matching files?
- February 15, 2018 at 7:23 pm
Yup, this never works for me. Never. This is why I have the clients either export each still as a separate file, with handles….or provide a single, textless, flattened full res export of their sequence so I can use that to chop out the stills.
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- February 17, 2018 at 10:42 am
[Bill Russell] “I assume by “separate file” you mean as a movie file. Ugh. Well, thanks for the info. Anyway, I manually force-conformed every image file. It took an annoyingly long time. Cheers – b”
Image file sequences are tough if they don’t have unique file names (at least for the sequence) and no timecode conflicts. If you have endless numbers of sequences that all start with 00000000, it can get a little tedious to deal with. It is possible to embed timecode numbers into certain kinds of file formats (like DPX).
Choosing the right formats for workflow involves a lot of considerations, and for me a good chunk of that boils down to “how well can I reconform this in another editing or color program?” Tests and trial runs can help ferret out which methods work and which do not. TIFF sequences would not be high on my list, but I do use TIFFs all the time for still graphics and titles — usually manually cut in and tweaked for length.
- January 7, 2021 at 3:06 am
Anybody aware of a new work around to this issue? Sounds like doing a separate video file export of the photos is quickest option? Maybe do scene cut detection with that file to save some cutting time?
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