Media workflow for multicam reality TV

[Lena Gregorian]

Hi Shane,

I say “expected” because of my past experience with this ongoing project, but you’re so right, there can be many formats of files. Mine are video and sound together, it’s MXF from DNxHD 120, 1080i, project frame rate is 25f.
From my past experience after consulting with you on a similar matter and these days, I’m transcoding to DNxHD36 as a good offline quality. Only the video not the sound. And I managed to “bring” the MXF to the bin by dragging the data file.

My though was whether to keep it to a source frame rate or project frame rate, and I choose project frame rate, with the frame rate I’ve been told they shoot. What do you think about it?

Thanks,
L.

[Lena Gregorian]

Hi Shane,

I asked the technician at the studio’s and he confirmed that it’s MXF OP Atom, so this files are shown at Avid MediaFiles/MXF/1, and they in did show in my project.

Also it’s 1080i – interlace, so I changed my project to 1080i50, and now I transcode. It was shot to DNxHD 120 1080i, so in my transcode I did:
Raster Dimensions: Source Dimensions (I read somewhere it’s better to keep proxy on), keep the frame rate of the source, as you once told me that if I don’t know the frame rate, I should keep it to the one of the source (and they told me it’s 25, but my project is 50, so I kept it as source). The target video is DNxHR LB with full quality, this is for offline.

First I wanted to do DNxHD 36, but after changing the project frame rate to interlace (and not progressive – 25p), it only gives me higher DNxHD, so I choose the DNxHR, is it a good choice to go back to ONLINE from?

I hope to get it right this time… better sooner than latter! ☺

Thanks for your help,
L.

[Shane Ross]

[Lena Gregorian] “it’s MXF OP Atom, so this files are shown at Avid MediaFiles/MXF/1, and they in did show in my project. “

OK…good.

[Lena Gregorian] ” I choose the DNxHR, is it a good choice to go back to ONLINE from?
“

Yes, that’s the DNxHR low res offline codec.

Shane
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[Lena Gregorian]

Hi All, Hi Shane,

I have to share with you something that has happened with my workflow.
My transcode file, is not generating a copy of the sound file. Is this because of the MXF type, OP1a or OP atom?

Is this a new thing for avid? I’m posting a picture for reference. What am I doing wrong?
https://images.creativecow.net/282812/avidtranscode.jpg

[Shane Ross]

I admit inexperience with this specific workflow. I haven’t had to deal with bringing in that file type. SO I can only guess. How about checking the option to convert the audio? that might bring it over.

Shane
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[Dustyn Gobler]

Dying for a followup/lessons learned!

[Ryan Dundas]

Hey Shane I took your advice and decided to work offline and I would like some more tips on my workflow.

We ended up shooting with 4 main cameras recording in DNxHD 145 on external recorders. So that footage I will link and then transcode to offline files.

We also shot with 6 gopros, 1 Sony A7s, 1 Inspire Drone, and the producer shot some footage on a Canon XA10 (AVCHD format). The GoPro and XA10 footage I transcoded to DNxHD 145, then I will link and transcode to offline files.

The A7s footage is 120 fps, and the drone is 60 fps. I will first transcode to DNxHD. Then to make the proxies for these I will AMA link to them in a 60 fps project and transcode to offline, then open that bin in my other project? Is that the best way to bring in high speed footage?

So the last thing I need to decide is what offline resolution I am going to work in. I was thinking of going with 14:1 like Shane suggested, but I noticed that option is only available when I switch my project settings to NTSC 30i. Why is that?
When I leave my project settings alone I am able to transcode DNxHD 45 MXF or Apple ProRes Proxy MXF. Or I can change my project settings to 720p with those same options.

What is the best way to make these proxy files? My multigroup is going to have 6-10 cameras. My plan is to relink to all of the DNxHD masters that I made after edit.