Ensure the Red Camera Proxy in Avid Workflow
I have an easy question for all you Avid Users out ther (or so I hope).
In a month we start shooting a new project and our editor wants to cut in Avid. I have experience with Adobe Premiere in a previous project, but want to avoid all the problems that came up. So here’s what I’m planning to do.
On set I’ll save all the media along with our proxy files (DNxHD115), which will be created in the camera itself for time purposes. After ensuring, that the naming convention is exactly the same as the R3D files I’ll copy the files in the Avid Media Files Folder, where I can sync it with the incoming audio files at the end of the day. My folder is linked via a cloud system with the editors computer, so he can start working with the files, after I sended him the Script with the synced Clips.
When the editor is finished, I take the proxies offline and link them with AMA to the original footage, so I can export the edl, aaf, or whatever is needed to the next posthouse, hopefully doing fine.
So here are my questions:
1. Do I miss something? Will I end up in some troubles with this workflow?
2. Can I create multiple folders in the Avid Media files to preserve the camera folder structure?
3. Do you suggest better ways?
4. (optional) Can I see my waveform for the audio in the source monitor like in Premiere?
I really appreciate your help. Thank you.
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