[Adam Harper]

I don’t want to convert the frame rate as some of the footage is in slow motion, it also comes up with the message; “Because the new edit rate does not match the original clip, you cannot batch capture, batch import, relink or link (via AMA) to these new clips”. Which I will want to do as I need to relink to the camera files in order to send it to DaVinci.

Unfortunately my computer isn’t powerful enough to edit directly with the AMA-Links, which is why I’m transcoding everything to DNxHD 36 for the Offline edit.

I should have mentioned that my project format is 1080p/24. I have read that apparently one way of doing it is to change the project format to UHD. Link to the files with different rates, do the transcode there as it has the option to maintain the source frame rate, then swap back to the 1080p format. Is that a viable option?

[Adam Harper]

EDIT:

It would appear that going into each, individual .RDC folder works for the AMA-Linking. However I would prefer to avoid this tedious method as I know it’s possible to not have to do it that way.

[Adam Harper]

Sorry for not being very clear. I was brought into the project late as the initial editor dropped out, I would of course normally discuss the Workflow with all involved but it’s evident that they didn’t here. It’s a student film so that might go some way into explaining why it’s all a bit chaotic.

After locking the picture I will be sending the original camera files and an AAF for it to be finished in Resolve.

However whilst I appreciate the initial advice, upon closer inspection it would appear that the DIT has not done the job fully and only bothered to transcode 1 day’s worth of shooting. So I will have to pretty much transcode everything myself, so at least that’s familiar territory…

Of course, a new issue has arisen. I’m now trying to AMA-Link to the R3D files and all that seems to happen when I do so is a new BIN gets created (named after the external hard drive I’m working from) and then nothing appears within the bin. No link, clips, anything. I’m using Media Composer 8.4.0 and I have the RED AMA Plug-In. I’ve tried;
“Link to media -> Selecting the .RDM folder -> Open”
and
“Link to media -> Selecting all the .RDC folders within the .RDM folder -> Open”
and the result is exactly the same. This is with the “Auto-detect plug-in” where it says “File of Type” in the window.

When I try with the R3D option, it just says “Unable to link to……”

I’m a bit confused as I’ve not done anything differently to before. However it has been nearly a year since I last worked with RED footage, has there been any changes with the update that I’ve missed?

[Adam Harper]

Great, all seems to be working now. Thanks a bunch guys 🙂

[Adam Harper]

Hi sorry for the lack of activity, computer decided it would have a barrage of problems one after the other and have only just got it fully up and running again.

When I import the clip into AVID it has a Key symbol next to it says Matte Key: “Name of animation”, so I’m guessing that means it has a key channel built into it?

However I now have a new bunch of problems as the animations are at 23.976 FPS and 1920×1080, whilst the footage is at 25 FPS and 3840×2160.

Importing the animations into the main project timeline (which is a 25FPS 3840×2160 timeline) does not work as it asks me to AMA-Link the media. It says “For larger than HD media with an alpha channel, please use the AMA-Link method instead of import” (even though its 1920×1080 and unless if I’m making a seriously rookie error here, that is HD right?). I tried to AMA-Link and transcode but it won’t do that because it’s an animation effect and then tells me to import it and transcode it that way.

When I try using it directly from the AMA-Link on a video track, all that seems to happen is everything around the ‘name animation’ is black and you can only see the footage through the name (if that makes sense).

I then tried making a new project where I could import the clips with the Alpha reversed (Invert on import?), then copied the BIN with the now imported clips into the other project. However when I tried that, it says the “Matte Key frame rate does not match the project frame rate, reimport the matte key from it’s original source”).

It seems that each solution brings me back to one of the other issues each time. Any ideas on how I can over come this?

Thanks

[Adam Harper]

Thanks for the response

Here, I’d have the camera op follow the action as closely as possible, and I’d track and stabilize the shot for the desired fixation point. I’d scale the stabilization up and down and add motion blur in post.

Seems simple enough. Any ideas on the camera shake? I have tried using the Wiggler effect before but it was too jarring and extreme, I’m looking at a more vibration to create a feeling of disorientation.

As for the next two I guess its worth trying to get them done practically. I might be able to pull of the knife reflection with my limited knowledge but judging by what you said for the shadow part it seems a bit beyond my abilities, and timeframe.

Thanks for the help!

[Adam Harper]

Wow sorry for the incredibly late reply, didn’t get any notification of your response!

So the first point occurs when Will wakes up muddy and disorientated then throws up an ear. The scene has two different effects working simultaneously.
1. There is a slight camera shake effect with some motion blur
2. The camera on occasion seems to fixate on one particular point on the screen and as the action on screen moves the screen moves with it? If that doesn’t make sense tell me and I’ll try explain exactly what happens on screen.

The second point occurs just before Jack and Hannibal have their fight at the start of season 2. Hannibal is cutting some meat and we see Jack and Hannibal’s reflection in the knife. I know it is possible to get a reflection practically but the reflections in the show suggest that the knife is made from a mirror.

The second point is after Will gets sort of hypnotised. He is revealed from black, but it looks as though there were some shutters blocking the light that were on him and were then opened. It could have been done practically but just want to check to see if theres a way to do it post-production wise.

Thanks, much appreciated!