[Alex Udell]

You may want to check out AJA for this.

As I recall their control panel software let their hardware play out Source and Matte out simultaneously for just the application you are describing.

This was outside of the NLE, as I recall.

Alex

[Alex Udell]

ok…

now the problem is that we have a mismatch of media type then…

your original is a video+audio

and what you are trying to swap in is audio only.

that’s not gonna work.

You might try:

1) take your : SELECTED MVI_8558.MOV[A] and put it in it’s own sequence
2) edit your: 8558.wav and edit in sync with that video clip (replacing the audio that’s there)

3) now you can export that sequence as a new movie.

then you can use the relink as I suggested with the new movie file

does that make sense?

Alex

[Alex Udell]

Hi Fred…

not sure we’re talking about the same thing here….

in the Project Panel

1) right click you existing audio clip and choose “make offline”
2) in the dialog that pops up, choose “media files remain on disk”
3) now you will have a clip entry in your project panel that is not associated with the underlying source file on the disk.
4) Now right click that clip again and choose: link media
5) now navigate to the properly mixed audio file and select it.

Now you have the same clip attached to the better media…you should not have to change any of your edits…they should just be replaced with the better audio.

this is not the same as “unlink” in the sequence.

Does this help?

Alex

[Alex Udell]

I’m not perfect….

but rather than breaking stuff up into multiple folders…

I use one Media folder

but I’ll name my files with a prefix like:

TXT_
GFX_
SND_

so they get lumped together in a filename sort of the folder.

alex

[Alex Udell]

Could you not unlink the media of the offline audio file and then relink that clip to the online mastered version provided by your friend?

That should do it.

alex

[Alex Udell]

You realize that you can still access the parent file frames from a Sub-clip? so maybe this is not necessary?

“Adjust media start and end times of a subclip

Select the subclip in the Project panel.
Choose Clip > Edit Subclip.
Edit the Subclip Start and End timecode fields.”

does that help?

Alex

[Alex Udell]

Can’t you edit In PPro and use that pipeline and then XML your project to FCP and pass it on to color anyway? Might have to skip roundtrip dynamic link…but that’s not the only way to get from PPro to AE and back.

Alex

[Alex Udell]

just to add .02 to the thread…

I was watching a demo of Lustre (discreet’s CC) and aside from all the actual color correction tools themselves….

I found the way you could sift, sort, group and view combinations of shots from an edit without harming the original edit to be about the coolest feature….and one that no plug-in could really duplicate.

Maybe that’s common in Color and Divinci too….but I thought that was totally the cats pajamas.

Alex

[Alex Udell]

” so basically, although this does sound like a workaround – it will take a while to do for each bin.”

well what if when you were making the subclips, you used a field like “description” (or something else) to tag the subclips from a common parent clip? that way you could use the Sift quickly to the relevant set by clicking the find box (magnifying glass) in the project panel and entering the unique tag?

“EDIT: Just looked in my project bin (CS4) and no field showing media path, which is odd! No right click, etc will bring up more fields and tabbed it fullscreen – GONE!?! Any ideas?”

It likely hidden. Need to turn that column on: Choose Metadata Display from the Project panel menu

“However, if I do what you suggested: offline subs > select all > relink to new source file – then the subclips then cease to be subclips, is that correct? When I’ve done it in the past it then changes into a master clip once relinked or ‘replace footag-ed’.”

Hmmm….never done this with subclips. So I can’t answer that accurately.

Question: however, since a subclip is essentially a marked off version of it’s parent, the frames used in the edit should not change even if it does end up becoming a “master” when switched to Online rez via the relink.

in fact, if there were any issues with Dynamic link and subclips (based on the concern you raised), wouldn’t this negate that concern anyway? as then you’d be dealing with master clips when introducing dynamic link into the pipeline.

I commend you for doing the due diligence to test your workflow before embarking on the edit. You are a smart, smart man!

hope I’m helping

Alex

[Alex Udell]

Hi Jimmy…

WARNING TRY THIS ON A COPY OF YOUR PROJECT FILE, NOT THE ORIGINAL FOR SAFETY REASONS.

When you say “HOWEVER, whilst doing a test – when I go to replace the master clip with it’s ProResHQ version, that master clip’s SUBclips don’t see the new master and continue to use the proxy XDCAM file.”

What are you doing for the replacement?

Relinking media?

You should be able to expose media path in the Project Panel.
Sort by it the path, so that the Subclips attached the same proxy parent file are grouped together.

then you can multiselect groups of clips, right click and choose, Make offline.

In the dialog that appears, choose “media files remain on disk”

then right click the still selected group again and choose Link Media.

then point to the ProRez master.

That should allow you not to have to things one by one.

However, are you also saying that relinking media of subclips changes the names of clips in the project panel and timeline?

I don’t remember that happening with master clips, so I’m surprised it happens with sub clips.

However if you are at the point of connecting back to the full rez media, aren’t you ready for output, anyway, or is this being passed on to a FCP editor or something?

Alex