Final Cut Pro to Avid Workflow Debacle (why is 24p a thing?!)

[Brittany Delillo]

Michael, thank you for your patience and the added explanation about how EDL Manager processes the information. It was that last bit about the REEL setting in Resolve that made the clips show up. I’m glad it was just user error and easily fixed.

[Pat Horridge]

Just for clarity it’s unlikely you’ll import into Avid. More likely you’ll AMA link and Transcode. Ingest is the more generic term.

Pat Horridge
Technical Director, Trainer, Avid Certified Instructor
Free online Tutorials at VET digital media academy online https://vimeo.com/channels/752951
VET
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[Brittany Delillo]

Got it. I was just referring to the menu item that I was clicking on, which was “Import”.

[Brittany Delillo]

Okay so an update on all this.

My project is 23.976. Some footage is 23.98fps, some is 24fps. I’m linking to AMA and then transcoding to ProRes Proxy MXFs. How can I go about transcoding all my media without having issues later on? It states that if I transcode this footage, I won’t be able to relink it back to the original AMA file, batch import, etc. Kinda limiting, no?

Some quick research online said I should create a new project at 24fps, AMA & transcode the footage in at a native 24fps, then import the bins into my 23.98 project. The only apparent difference is that the files are highlighted green in my timeline.

Any other suggestions?

[Shane Ross]

For the 24fps straight up footage, make a 24fps project and import that footage in there…then bring the bin over to the main project.

Shane
Little Frog Post
Read my blog, Little Frog in High Def

[Pat Horridge]

That method of making a project for each different frame rate, AMA linking into there and Transcoding there then copying the bin to the main project is a standard workflow in Avid for avoiding baked in frame rate changes!

Pat Horridge
Technical Director, Trainer, Avid Certified Instructor
Free online Tutorials at VET digital media academy online https://vimeo.com/channels/752951
VET
Production Editing Digital Media Design DVD
T +44 (0)20 7505 4701 | F +44 (0)20 7505 4800 | E pat@vet.co.uk |
http://www.vet.co.uk | Lux Building 2-4 Hoxton Square London N1 6US

[Michael Phillips]

While it is standard operating procedure to do so, I think the whole concept is getting long in the tooth and is based on conventions set in the 90’s. Especially with AMA (a fully developed AMA), frame raster and raster type should just be part of the source settings when linking. But having to create a project and manage separately just to set those values is a pain the ass, and project association becomes more problematic, etc. And even when in the project you can change “field motion” anyway, so it just becomes multiple levels of obfuscation.

The same goes for codec choices within the same project. Why have to change project type to transcode to RGB 709 and vice versa? Just pick the one you want and let the computer figure it out.

The same could said for timelines. a project becomes an association of all elements for a given project regardless of sources and delivery timelines.

Now what does come into play as Pat mentions is transcode, but even that can be managed during the transcode selection process with a “preserve source rate or project rate otion” (if projects are still locked to a single rate and raster) or any given target/raster rate.

And while on topic, don’t make auxiliary timecode such a lossy field. When trancoding from one rate to another, there is no reason to lose its original frame rate and ability track it. There are plenty of columns for tracking every kind of timecode rate known. Currently any values being tracked in the AuxTC columns disappear after a transcode.

Michael