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Resolve to AVID Frame rate issues (Avid kinda of newbie)
Hi everyone,
I am fairly new to avid but I am trying to understand how to best approach the workflow for this feature I am working on,
The DIT is making transcodes in resolve that then sends me the files are DNX LB and then I import those files in avid and sync them with the audio.
The feature is in 24 and for the first few days everything was going smoothly, but now I started receiving 50 and 100 fps clips, and the workflow doesn’t work anymore because he sends me files that avid sees as 24 fps but they play slow mo.
For me then to sync those with 24fps audio files it’s very hard, can be done but very time consuming, and because I get 120 files like that a day I can’t do it!
What is the best approach in this situation? because I have been suggested to ask the DIT to make 24fps transcodes that play in 24fps so no flow, applying a kind of respeed in resolve.
As I said I am not used to avid so I was wondering if someone could explain to me how shouldwe(me and the DIT) approach this workflow :s
replied 5 months ago 2 Members · 5 Replies
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5 Replies
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Hey Mauro,
If the feature is 24fps, and assuming that it is all camera rushes?
If suddenly you get 50 and 100 Fps files, then you should go back to DIT and ask them to confirm the frame-rate on the original footage?
If that is shot at 50 or 100 Fps, then ask Production/DOP for guidelines, as for the auto-conform (master), there has to be a trace back in order to make that a perfect high-resolution of your edit.
Might also be worth checking with script or log-notes, to find out if it is done on purpose?
But first up, you need to know what the frame-rate of the original footage is?
Hope that this helps?
Atb
Mads -
Hey Mads,
Thank you a lot for your help!
In this case the clips have been shot in 50 and 100 fps with purpose because are action scenes, at the end I spoke with the DIT and found a way to receive them in a usable way even though, and this might be out of what I initially asked I am not sure how to process them into avid.
After I import them they’re 48fps let’s say and to ingest them I put them into a sequence they have on top them temporal adapters,
and I would like to apply a timewarp on it I can’t,
I have tried to promote it but I have been advised that promoting it can create conform problems later down the line and apart from that when I change the speed of the clip(because a 48fps clip in a 24 fps timeline) from 200 to 100 then the clip doesn’t change duration to adapt to the slow down and even manually I cannot extend it
Happy to receive more help even though it’s out of the original scope of the post, I am in a bit of troublesome situation!
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Hey Mauro,
No problem, happy to share the pain of current and past projects.
And on the COW you are never locked into a specific question or answer, as the resolution may never be an obvious one.On this project You can’t win, as you are locked in and can only deliver 24fps.
And, if you are given the original frame rate for the action scenes, and they are running slow or fast, then that is what you have to work with.
Question to ask the team that will do the conform, as to what they are using and what they are expecting from you?
If they are on AVID, then hopefully it will all fit into the right places if they can take the project file of you.
If not, then it is a questions of how you share your edit – is it EDL or AAF or XML or?
My advice is to ask questions, sooner rather than later.
And even if you are not on the finalising of the film, you should be given a list of deliverables for the Conform/Audio/Grade and VFX. Because there is every chance that they might come back and ask for more footage, even if only in form of timecodes.As much as it will be the conform dealing with most of that, it is still prudent for you to be in the know – or cetainly for the Post supervisor / producer, to be able to guide you.
Atb
Mads -
Thank you a lot Mads,
At the moment is very complicated because there isn’t a post sup or similar on the project yet so I don’t know who to ask anyway I have asked the producer about the post house delivery details etc.
Returning to avid though I am a bit confused, but I think I found a solution, essentially my need was having inside of Avid two sets of the high framerate clips, one set that plays in 24fps so slow mo, and one set that plays in 48 or whatever so I can sync it with audio in case they need it as well.
My solution was, but happy to be wrong to ask the DIT for two sets of clips one in 24fps that plays slow mo and on in the native framerate that I can sync with the audio,
if I get instead one single set of them is impossible(to me at least) to make the other set in avid in a way that is not the most timeconsuming task in the world xD
Mauro
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Hey Mauro,
What a nightmare. Sounds like you have become the involuntary post supervisor.
My advice, as I suspect that action footage is a minor part of the entire film, is to just start editing.
Make notes for the On-Line editor what file or reels in the edit to look out for, and let them recreate it in the OnLine. Make sure to let the production know that this is what you are doing going forward. As they may come back on that if that requires extra time in the online.
And depending on who you are working with, they may even try to deduct that from your pay.Hence, if you have an email trail that shows that you asked for guidance, then the problem is on their table and not yours.
If they come back and have questions, refer them to the Post-Supervision, which may end up being the editor doing the final master before grade. As in giving you advice.
But you’ve got a big job ahead, and somewhere along the prep for the shoot, the DOP, Director and Producer would have made a concious decision to shoot in different frame-rates. And they would have known why. I’m sure that they will be able to give guidance, or know someone who can.
Keep gooing, you are doing fine.
Atb
Mads
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