Brittany Delillo
Forum Replies Created
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I’ve tried everything and the only time I’m able to export an EDL and have it work in DaVinci is when I use DaVinci-created MXF files that have Tape Names built in.
If I import the ProRes Proxies using AMA or regular Import, the EDL comes out with no clips linked up. I followed the procedure in this video https://www.youtube.com/watch?v=hj4Gwvojxb4 and my final EDL had errors when imported into DaVinci.
I tried to recreate the situation: converted H264 Qts to ProRes using Compressor. I AMA’ed and transcodes for one sequence and then basic imported them for another. I tried the Basic Import method and converted them to ProRes MXFs on one try and DNxHD on another. In all three instances, the EDL came up with media offline.
I’m at a loss here and not sure what the best process is to get this project going without asking for all the raw media and starting 100% from scratch. Has anyone worked with ProRes Proxies before and successfully conformed them?
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Yes, I agree. It was bad planning. A switch in editor on the project changed more than just the guy in the chair.
My main dilemma now is what to do about all the ProRes Proxies. See my questions on an earlier post:
If I had my way, I’d take the Raw footage and convert it all to DNxHD36 in DaVinci, using QTChange to add Reel and Tape names where they’re missing. That way, when we online, all the original media has the right Reel and TC as well as whatever transcodes I create. Is this the easiest solution, rather than going backwards with Proxy media? Or is there a way I can salvage the Proxies? If so, how does online look? I’d be going from MXF –> Proxies –> RAW Media which is one more step than necessary, correct?
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Shane,
First off, thanks for the incredibly in-depth answer. I appreciate you taking the time to help me out. I’ve loved your blog and Twitter musings for a few years and it’s great to get your opinion on this.
Thanks for the breakdown of 24p. I still get those guys confused.
You’re preaching to the choir regarding the use of one NLE. Long story short, it wasn’t my decision. I’m just the AE :p
I feared starting over from scratch was my only option but wanted to hear someone else say it before moving forward.
“You need to stick to one edit system. If this is going to be cut in Avid, then you need to start in Avid. AMA to access the footage…transcode to the codec you want, SAVE THE AMA BINS..you’ll need them later to relink and online. Then do all of your organizing and syncing.”
Right now the footage I have is all ProRes Proxies. I’m trying to track down where all the RAW stuff is (the drive the producer gave me just has Transcoded media). I can get through the AMA process fine but the Reel/Tape names aren’t coming through at all. In the FCP projects, they’re there, but not when I Right Click–>Link to AMA Files. See the below screen grab for comparison (that blank spot next to the Avid file is the Tape column):
(When I import the Automatic Duck AAFs, the Tape names survive the journey. I thought this might be because they were added inside FCP and not part of the original media’s metadata, but the tape names show up when I import the Proxies into Adobe Premiere so it must be inherent in the Proxies themselves.)
To make matters worse, I don’t think the Proxies were made with FCP7 Log & Transfer since a few 5D Tapes start at 00:00:00:00 (and if I remember correctly, FCP7 L&T adds TC to 5D footage). So I have Proxy files that have no Tape name and, in some cases, no TC.
If I had my way, I’d take the Raw footage and convert it all to DNxHD36 in DaVinci, using QTChange to add Reel and Tape names where they’re missing. That way, when we online, all the original media has the right Reel and TC as well as whatever transcodes I create. Is this the easiest solution, rather than going backwards with Proxy media? Or is there a way I can salvage the Proxies? If so, how does online look? I’d be going from MXF –> Proxies –> RAW Media which is one more step than necessary, correct?
Thanks again for all the help.
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Pardon my ignorance but what is a clip span?
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Does anyone have other examples of resumes? I’m currently in the process of re-working mine. I’d be willing to share it if anyone wants to give direct feedback.
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Perfect advice. I’m looking to gather my reel together and you pretty much answered every question I was starting to have.
Thank you so much!
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[Andrew Kimery] “Apprenticeships don’t really exist anymore, the vast majority of positions out here are freelance, assistant editing is turning into a career path all its own (not just a stepping stone towards the chair) and, yes, I’d say your concept of a post house full of staff editors cutting big budget features is off the mark. :)”
I figured as much, but needed someone in the industry to tell me so. Happy to hear this is a lot more complicated than I had previously imagined. 🙂
Looking into the Santa Monica area per August’s suggestion. Narrows my searching ever so slightly and doesn’t hurt to see where the top is.
LA is the more difficult of the two options (East vs West) but as you said, better to take the risk and fail instead of living cautiously and having life go by. I’m 24, single, confidant and surrounded by great recommendations. That cross country jump has fewer repercussions now than in ten years when there could be a lot more at stake. Perhaps I maintain my advertising work in LA, while trying to get features on the side? I know I’ll have to keep the ad work, no matter where I am.
Hopefully I can gather more opinions but thank you both for the advice so far.
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[Bill Davis] “Yes, there will always be a market for expertise. But I wonder if that expertise will be about process – as it largely is today, or something different. Style, Vision, Boldness, Trust, Attitude….. something other than operational technique, which can be looked up pretty quickly on line.”
I think that is already true today. Sure my sister can look up how to use Final Cut and make a pretty good video but it doesn’t have nearly as much finesse as something I, a professional, could create. You’ve said the why: Style, Vision, Boldness, etc. You can’t find that in a video tutorial.
We’re not only looked upon to make a great looking product, we also need to do it QUICKLY. We all know the current trend of shorter and shorter deadlines. Not to mention the fact we will probably need to do it on two or three different NLEs with a wide range of people with varying opinions and temperaments. The combination of process, storytelling, speed and attitude all combine to make “expert” editors a worthy breed to keep around.
As to NLEs, I’d say Avid, FCP7, Premiere and Smoke would be the top tier to consider. I’m not entirely sure how much FCPX is used in the professional space but I’d guess it’s less than Smoke.
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Useless for the project I’m currently working on. I’ve had great success using it in other instances. Apologies for going off the cuff there… I guess I’ll just have to trouble shoot some more with it.
But back to the topic at hand….
Premiere and AVID will coexist on the same boot drive and work fine together? No “wire-crossing”? Just trying to anticipate the problems before they arise…
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Yeah…..unfortunately that’s the box I’m saddled with. Blackmagic Decklink Studio. Decisions made in an FCP7-centric time. Glad to know the extra monitor I got mounted to the wall is useless for the time being.
