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RED workflow; from DNxHD36 to DNxHD185, Advice needed!
I need a little guidance in a RED workflow; been going nuts these past days, since I cannot find any easy way of doing this…
I got some RED footage in about a month ago – and the client (and another editor) insisted we work in Avid (although I almost exclusively work in FCP). After a little research, I converted all the RED files to DNxHD 36 for offline editing in RedCine-X…
Everything good, editing is over, ready for onlining. Now the trouble kicks in. I cannot find any simple way to re-link my material to a higher resolution!?!?? I do not have any specialized software, like Monkey Extract, and I would like to do this as clean and simple as possible without investing in expensive apps.
How do I do this??
Should I really convert ALL the footage to DNxHD 185, before I can relink? There is like 10 hours, and the final product is only 3 minutes, so it seems a little over the top…
There are a lot of effects and 7 video tracks in the timeline, so going EDL to RedCine-X is really not an option… too risky…
Any suggestions greatly appreciated!
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9 Replies
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You can simply export an EDL into REDCINE X as a pull list, transcode only the events you need + handles to DNxHD of your choice. Import sources back into Media Composer, and “relink to selected.”
You can see a video demo of this here:
https://tinyurl.com/29ue8mmStart watching about halfway through It shows you how to do a selects of clips, export EDL, import REDCINE X, etc.
Michael
Michael Phillips
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If EDLs are not an option you could link to the necessary footage via AMA and link the sequence to the Raw files, then simply transcode the sequence.
Andrew McKee
Editor/Colourist
Avid Certified Instructor – MC5.5
Apple Certified Trainer – FCP7
Pixelwizard.net -
You cannot relink via AMA to sources that are referenced via TAPE. When using REDCINE X to make dailies, it references the filename in the TAPE whereas AMA uses SOURCE FILE. You cannot relink/conform across two different fields. Once you start in REDCINE, finish with REDCINE. If you start in AMA, you can finish with AMA.
Michael
Michael Phillips
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I thought perhaps if you brought in the correct files via AMA you could force a “relink to selected” just using timecode.
Andy
Andrew McKee
Editor/Colourist
Avid Certified Instructor – MC5.5
Apple Certified Trainer – FCP7
Pixelwizard.net -
Relink and “relink to selected” rely on having the same source and timecode. Since the source is in two different places, it cannot do it, even with a “relink to selected” Relink to selected works great in situations where you have two sets of the same media (offline and online for example) and you want to force the sequence to one set versus the other.
The ability to relink between SOURCE FILE (AMA) and Tape will be addressed in a future release.
Michael
Michael Phillips
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I’ve been playing with Michael’s workflow, and it really does work well. The only problem I’m running into is when my edited timeline uses a take several times. Say I shot a 2-minute clip of a band performance for a music video, and I use 3 different parts of it in my Avid sequence. I want to now online my edit using your method, but there’s a problem. In step 12, those 3 edits from one clip appear as 3 new clips: clip.new.01, clip.new.02, and clip.new.03. This is fine, and they make it into RedCine just fine. But on step 19, RedCine puts the first use of the clip in the AAF and MXF folders, and subsequent uses of that clip in folders outside the AAF and MXF folders with S000 and S001 added to the folder names.
Therefore, I can get the first use of the clip (clip.new.o1) back into my edit just fine. But…
How do I get these separate files, formerly part of one clip out of the camera, back into an online edit?
Thanks!
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It seems they RED has made a change to the output that I haven’t played with when spans from the same clip are generated. It used to me that the AAF file got overwritten when subsequent AAF were created from the same clip. But the MXF files were always fine. It seems that instead of just adding _s001 to the end of the AAF filename, they do it as a new folder/directory.
In theory, as I am not in front of a system right now, is that the MXF files still have unique names and they should all just be copied to the MXF file folder in the Avid MediaFiles folder. If they do overwrite each other, then RED really needs to make sure there are unique names created. And in the meantime, you can make additional folders in the Avid MediaFiles/MXF folder such as 10, 11, etc. and put the MXF files in there own folder so they don’t overwrite each other. Open the bin and import all the AAF files from their respective folders.
That should do it.
Michael
Michael Phillips
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I will give it a try! Thankfully I’m at work and this is work-related!
James Codeglia
http://www.Ghostlight.com -
I can indeed grab those MXF files, move them into the Avid MediaFiles folder, and import everything RedCine exports into Avid MC6 without incident. However, I still have missing clips because RedCine is not exporting everything it should.
The first time I relink to new clips, I get complete success with shots that are only used once from an original clip. For clips that are re-used within the sequence, I get ONE of those uses back from RedCine, and re-uses are offline. I’m not sure if that’s a hard rule, but seems to generally be the case.
If I went back and re-exported one of the failed re-links from RedCine, one at a time, I could get it to re-link. So something is going strange with RedCine not correctly making multiple MXFs. It is fixable by hand, but what a pain!
James Codeglia
http://www.Ghostlight.com
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