C. Ryan stemple
Forum Replies Created
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That’s incredibly helpful, Juan! Going into the office early right now to assign relevant reel numbers and retry my XML. Will post on here with the results.
Thanks a ton!
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Carl Ryan Stemple
Color | Edit | VFX
digitalbarbershop.com -
I had considered as much. I did in fact use Media Manager to consolidate all of the media into a single folder, to the same result.
I think you’re right, about my lack of reel information and or time code. I’m more inclined to think it’s a lack of reel information than timecode, as we make a point to make sure that all clips edited have unique timecode. Exactly what is nessecary for correct reel information going into Resolve? Is it at all related to clip name?
Pardon my apparent ignorance – I’ve never run into a reel info issue with an edit outside of Avid before.
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Carl Ryan Stemple
Color | Edit | VFX
digitalbarbershop.com -
It’s not a LUT for CineForm exactly, but there’s a great thread here where awesome Cow users have given links to download (and instructions to install) their LUTs for CineSTYLE.
Again, it’s not exactly the same as CineForm, but it’s pretty darn close. If you can’t find a CineForm specific LUT, I’d give these guys a whirl!
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Carl Ryan Stemple
Color | Edit | VFX
digitalbarbershop.com -
I’m sure that you’ve already considered this, but have you tried toying around in the Automator application that comes standard with every Mac? Assuming of course that you’re shop is Apple-centric. I think I remember and interview with Walter Murch where he mentioned that they used Automator for a lot of Filemaker processes. One would think that this could potentially also be true for Avid.
God luck on it in any case! I’m not familiar with automated workflows like you’re suggesting, but I’d be incredibly interested in learning it if you find a workaround.
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Carl Ryan Stemple
Color | Edit | VFX
digitalbarbershop.com -
What I’d recommend is this:
– Import your 7D material as DNxHD 36 (generally accepted as the standard for offline DNxHD workflows).
– Edit your project with this material.
– Once you’ve reached a picture-lock, duplicate your sequence and put it in a new bin. Title it Online Sequence, or something else appropriate. Save the offline sequence in it’s own bin.
– Use the “Decompose” function on the duplicated sequence. This will create brand new media offline clips.
– Selecting all of the offline clips, Batch Import the same footage you originally edited, only this time at high-resolution (depends on what your system can handle – 1:1 may very well be too much. I’ve found that either DNxHD 145 or 220(x) get the job done swimmingly).
– If all went right, Bob’s your uncle!Hope this helps your workflow go as smoothly as possible!
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Carl Ryan Stemple
Color | Edit | VFX
digitalbarbershop.com -
Bare in mind that I’m not as familiar with Avid 4.5 that I used to be, but is importing the footage as DNxHD opposed to linking to AMA not a an option? Avid tends to know and understand what it likes, and importing the footage and creating Avid media files (DNxHD .mxf files) seems to be the way it’ll have to go with your workflow.
I DO know though that Avid’s AMA policy of handling “all Quicktime files” wasn’t introduced until 5.0, so unfortunately, that may be out of the question.
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Carl Ryan Stemple
Color | Edit | VFX
digitalbarbershop.com -
All right on the money, Andrew! I’ve got an incredibly similar workflow that works really well for me.
If you don’t mind me asking, what graphics card are you running that powers the GUI? That MAY be what’s causing the lags – although honestly, I’m not entirely convinced that’s the problem. I’m running my GUI on a AMD 6770M HD with no issues – and that is supported by 16GB of ram.
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Carl Ryan Stemple
Color | Edit | VFX
digitalbarbershop.com -
Have not had RAM issues yet, but working mostly on short form. On the shows I’m working on never could tell the difference on any of the systems… which struck me as a bit odd! But, it’s all short form so far!
I’ve actually found that, even if I’m working on a feature length project, it’s significantly beneficial to the performance of the GUI to break it up into “reels” of about 10 or so minutes. The less that Resolve has to account for, the less it has to think about where and what the footage is.
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Carl Ryan Stemple
Color | Edit | VFX
digitalbarbershop.com -
“if I undestood him, he imported an EDL to Premiere. Once in premiere, he then had the use of AE.”
That’s pretty much what I was recommending, via an Auto Duck transfer from Avid. That way, you’re able to have that Avid project that your colleagues and associates seem to prefer (more on that in the next paragraphs), as well as the convenient integration of Premiere and AE. It certainly isn’t the most preferable situation, given that it mandates creating more media, but it is a work-around that allows you to maintain a workflow that you’re comfortable with.
In regards to your current system being accepted by pros, here’s my advice: Utilize whatever tools suit your needs most conveniently.
Without getting into any sort of a debate about what is “THE” definitive NLE of the pros, as long as you are able to get your job done efficiently and understand how to accommodate for others’ needs, use what you feel most comfortable using. Maybe that means sticking with your Adobe-centric workflow because that’s what you know and works for you. Maybe it means that you’d feel more secure in the eyes of your peers by switching to the system that they find most useful. At the end of the day, it all comes down to a phrase colorists hear all the time: “Split the difference.”
I don’t know if you’re familiar with him or his company, but long-time regular on the Cow boards Walter Biscardi recently wrote an article about how the fallout of FCP X has rattled the cages of his business, and concurrently, how it also rattled the cage of the NLE business itself. It’s a good read that compliments both Premiere and Avid’s recent developments, and also foreshadows the inevitable fact that while FCP 7 is still there and very much usable, it’s not getting any younger. And it never will.
In the last couple of days, Walter followed up with a blog post you’ve likely seen on this forum detailing how his company is officially switching over to Avid as their primary NLE. That may seem like I’m making an argument for why you too should switch to Avid, but in fact it’s almost the contrary – Walter & co. decided on this transition because it most efficiently and conveniently suited their needs, but those needs are not necessarily your own needs.
Sorry for the novel! Bottom line – If you’re doing your job well and making other people’s jobs easy, you’re a pro, no matter what you use.
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Carl Ryan Stemple
Color | Edit | VFX
digitalbarbershop.com -
In almost all of the Automatic Duck transfers I’ve seen or controlled, AD serves as an easy way to both preserve a timeline as well as transcode media to a codec that works well with the program you intend to transfer to.
In this manner, your question of whether it would create a new render of your working media is true, in a fashion. Auto Duck is essentially creating copies of your working media (with the optimal situation including only the clips you are actually using with handles, which is why a consolidation beforehand is highly recommended), while also giving you the tools to relink that media in the destination program.
This isn’t something that you really need to worry about (except perhaps if disk space is an immediate issue) – as long as you familiarize yourself with proper AD protocol and codec equivalents (DNxHD 115 roughly is the same as ProRes 422, and so on), you need not worry about a loss in quality.
And if it makes you feel any better, there’s actually a precedent for utilizing Premiere’s jnterconnectivity with After Effects even when a project wasn’t edited on Premiere! This example is slightly different, being that the film was originally edited on FCP, but you may want to check out this video about how the assistant editor on The Social Network used Premiere and AE to conform the final picture:
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Carl Ryan Stemple
Color | Edit | VFX
digitalbarbershop.com