[Aidan Mccarthy]

Can Anyone tell me if they have had success at editing XAVC 2k IN Premiere CS6,
I have loaded the plugins from the sony site, (for the RAW Files) as I cant find any other plugin but just can’t get the F5 mxf files to import in to the project..
From what I have researched it seems to work fine in Premiere CC, But I don’t want to use that, as I have a Copy of CS6 on my machine.
Thanks

[Aidan Mccarthy]

YAY!!!

Its the little things in life Michael…

Its all back online again, so now inside my project I have the original h264 ama links, the final picture lock dnxhd175 seq and the offline rez dnxhd36 seq’s
I had to fool the avid again by copying the folder into a new avid media files folder and then I restarted, Avid rescanned this and everything was back online..

It is easy when you know how..but to be honest the whole workflow SHOULD be simpler…inside the new FCP10 when it is importing the clips you can tell it to do a low rez proxy and a full rez import at the same time, and you just switch between them inside the seq setting and everything goes instantly from offline to online…plus it actually does the import process’s in the background and allows you to edit in the meantime…I’m absolutely not sold on it yet (FCP10) but it is definitely pointing the way to the future…

Regardless…thank you so much for your time and expertise, you are a gentleman and a scholar..

Aidan McCarthy

[Aidan Mccarthy]

Yeah all godod LACIE DRIVE:Avid MediaFiles: MXF: 1 folder (withall the files in it and no avid database files…. and another folder with 2 folder with nothing in it…

If I create a new folder and call it 3 folder and plae all the mxf files inside it will aid rescan it and recreate a database file and let the project relink???

Aidan

[Aidan Mccarthy]

Right I have gone through all the files in the AVID MEDIA FOLDER on the other drive with the transcoded clips and all the audio from the project and there is isn’t a avid media database file inside the folder…SO I am assuming that is why the avid cant see the files… but I dont know how I can get the avid to locate the folder and recreate the database files???

[Aidan Mccarthy]

No the only thing online within the project is the seq which i relinked to selected with the h264 clips..
everything else that i originally transcoded and edited is offline including the audio( which is the most import thing..

All of the files are still within the original MXF folder, but I cant get the project to see them and reboot..to the dnxhd 36 seq…

The main reason i need this is for the audio export for the sound mix… and also I just want to know how to do it…

I am going to duplicate the seq and give it a go, but with out the transcoded dnxhd36 files online in the bins Im not going t o hold my breath..
Thanks again for your help… I genuinely feel like you are the only other person in the world who understands my pain… lol

Aidan

[Aidan Mccarthy]

Hey Michael,

I went through the both process’s detailed above and gave the Grade house the AAF and the orginal H264 files, but they came back to me and said my seq was to complicated and they were having trouble relinking some of the files to the original media and didn’t want to spend the time having to recrearte the seq in the Da Vinci, (which is what they do if they face this problem for a paying customer)

So I went about the second workflow and hid the MXF folder by putting the XXX after the name… i then relinked to source using the AMA clips in the project just as you described and everything linked up..
It was a thing of beauty…easy and painless.

I then Transcoded all this seq to DnxHD175 onto a new Drive and deliverd this DRIVE to the grade house …Actually the asked for a video mixdown of this new trancoded seq 175 and an Export from EDL Manager to provide them with the edit info.

So I have provided final picture lock which is great and I want to thank you for that…
The only other problem i face now is when I tried to get the Avid to see the old MXF folder by renaming the folder from MXF XXX TO MXF, the avid still doesn’t see it and everyting is offline…
I deleted the Daabase files within the MXf folder and thought that when I restarted Avid it would rescan the drives and rebuild the database but it is not doing this and everything except the full rez H264 seq is offline within the project..

Is there a way to force the avid to Rebuild and rescan the MXF FOLDERs???

Best Regards
Aidan McCarthy

[Aidan Mccarthy]

Thanks micheal you are a superstar..

the facilities house is using DA VINCI to do the grade.. So just to clear this up in my head, you reckon If I just give them an AAF of the dnxhd36 seq with the video tracks included, and a copy on a external hard drive of all of the original media from the cards it will all link up in their system full rez h264…

Failing that I can hide the mxf folder By changing the extension (ie from mxf 1 to mxf xxx etc) and with my seq offline because it can’t see the transcoded media open and select all my AMA linked bins (there is quite a few) and tell the seq to “relink to selected” and them I will have a full rez seq linked to the h264 which i can transcode to dnxhd175 if i wish and send and EDL of AAF to the Facilities house!!

I think I under stand the process now…I am going to attack it in the morning and I’ll let you know how I get on..

Best regards
Aidan

[Aidan Mccarthy]

Hey Michael,

Sorry for the lateness of the reply, but my second Son Ronan was born shortly after the last mail and everything basically was put on hold till now..

I’m actually at the online stage with the first 30 minute short I was discussing shot on Canon mark 11 and it is to be graded in Da vinci.. everythings transcoded to DNxHD36 , as i didn’t have enough space to transcode to dnxhd175..
This rez is perfect for the offline and the avid handled it fine.

Before I started the cut I originally loaded the clips in using AMA link (all the cards are copied to an external harddrive in their native format) and then I trancoded the files to DNxHD36. all the file names are the same with “.new 1” at the end. All of the clips Ama linked and transcoded are in the same bin, with all the transcoded footage at the top of the bin and 1 bin per card. but i only used the transcoded footage for the edit.

I still am not quite sure how to get the picture locked dnxhd36 seq to conform back to either the native ama linked files or to transcode to dnxhd175???

Do I need to decompose the seq? and somehow tell the avid to relink back to the h264 clips via ama?

Or if I consolidate the seq to a new drive and tell it to be a dnxhd175 rez is the avid clever enough to transcode from the orginal native files or does it just uprez the dnxhd36 files hence creating no new increase in the resolution??

Should I start a new project and import the final seq bin and tell the media to relink etc..

Dnxhd36 is not full rez similar to oldschool 15:1 and is only suitable as a screening copy so this process of up rezing for the online must happen all the time within Avid, my question is WHY IS IT NOT EASIER TO ACHIEVE???

Am I missing something basic in the workflow?? At this stage I just want to get a full rez version to the grade house, I dont care if it is h264 or dnxhd175, which ever process is easiest to achieve!

Any help you could give will be greatly appreciated as I have to do this all over again on this feature film in the next few months, and I need to get the short done and finished, its funny how the last few hurdles can some times be the hardest to get over!!!

Best regards
Aidan

[Aidan Mccarthy]

[Michael Phillips] “So as you can see, from my perspective, working on feature length projects, native codec support is not high on the list as there will be a transcode anyway, and it’s all the other functions and solutions I need to manage a feature length that become more important.”

Thank you Micheal I really hadn’t thought of that…I was desperately trying to think of a work around from transcoding EVERYTHING…and hence the interest in PP..But I think I’m just going to have to test it in a smaller project some other time…

As it is I have decided to let the assistant to handle the data wrangling ONLY on set, and I’ll deal with the edit when they get back, taking the pressure off everyone…They can view the rushes through vlc or mpeg streamclip while they are out there, and he will essentially be doing file management and paperwork with the cards everyday making sure everything arrives back which is WAY more important.

I still haven’t decided on which platform to choose between FCP and AVID, but the short I’m working on at the moment in avid has everthing trancoded to DNxHD36 and does work fine, so that is definitely swaying me. I’m still cutting it though and haven’t tried the online yet.

I would ask you though is the confrom back to the original H264 file an easy process in avid. I loaded the clips in using AMA link (all the cards are copied to an external harddrive in their native format) and then trancoded the files to DNxHD36. all the file names are the same with “.new 1” at the end.

Is it the same as an old fashioned digi online, where you decompose the seq and point the avid to the original files instead of a batch capture????

[Aidan Mccarthy]

Hey michael, thanks for the reply,
The online hasn’t been finalized yet, and the shoot happens in 2 weeks, so I will probably have to decide before they go, so I can train up the assistant, what I’m trying to find out in your opinion is which of the three packages has the best workflow with canon 5ds and why?? and I hoping that with enough answers I can make the most informed choice in the next few days.
Thanks
Aidan