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  • Color Grading back to AVID

  • fernando alves

    March 8, 2015 at 7:43 am

    Hello Everybody,

    I dont if this workflow I am doing is correct:

    After the final cut I send an AFF to the colorist. Then the colorist relink the AAF with the original material (he has all the original cameras files with him). And after color grading the final cut he send me back an Apple Pro Res HQ of every single clip from the film into separate folders. Its a one minute tv ad. The total numbers of clips are 67. I import this Apple Pro Res HQ. The Importing Setting is DnxHD36. After importing it I put the film together again and export a quicktime Apple Pro Res 422 mov and then make an HDCAM to send it to the TV station.

    Is it the right way to do it? Or the right way is the colorist export the final cut to the HDCAM?

    P.S I notice that the images get darker doing the way I do.



  • Pat Horridge

    March 8, 2015 at 9:11 am

    No that’s wrong. DnX36 isnt finishing quality.
    You should be able to put the prores clips in an Avid media folder and relink your sequence to that media.
    If its ProRes then you need to be a Mac to do the same as source export.
    if you are on a PC you need tge colourist to send back DNX media (Dnx185x or similar) or uncompressed.

    Pat Horridge
    Technical Director, Trainer, Avid Certified Instructor
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  • Bill Ravens

    March 8, 2015 at 2:25 pm

    I would add that the levels need to be monitored more closely if the footage is changing luma. Somewhere in the import/export chain, 709/full levels are being incorrectly applied. If the colorist is using Resolve, he should double check what levels he’s exporting with. In Avid, you should check what levels Avid is applying on import. I’ve noticed that MC v8.3 will incorrectly change the levels of some footage when linking via AMA. I need to manually go into the Source Settings to reconfigure the LUT Avid is applying to this footage.

  • Michael Phillips

    March 8, 2015 at 2:59 pm

    Why the need to make Quickime wrapped DNxHD at all and go through those steps? If Resolve (and most other dedicated color correction systems off the same workflow) is to create native MXF wrapped DNxHD directly. Also, putting each shot into its own folder might benefit other workflows, but not an MC one necessarily.

    A couple “if’s” but IF Resolve, and IF it is only color and no other changes to the timeline, then render out individual clips as MXF wrapped DNXHD directly to, or copied to if done elsewhere, directly to Avid MediaFiles folder. Preferably a new numbered folder reserved for this to aid in organization. The highlight the timeline on the edit tab, export AAF (not new AFF) and import that. Everything links and your original timeline is preserved as afar as layers and effects. If the colorist did change something other than color, then I would still put newly created MXF files into their own folder, and import the MMsB mob file that will populate the bin then do a relink to selected.

    With both methods, I would make sure you properly set the REEL in Resolve to match original names used in offline, or original file name. And I always add handles during render/transcode in case you need to make changes once back in MC.


  • Bill Ravens

    March 8, 2015 at 5:14 pm

    Good point Michael.

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