[Glenn Sakatch]

A lot of round trip workflows are still based on the original sequence reading different (colour corrected) versions of the media it originally sent out. The sequence itself doesn’t change. Usually timewarps that were applied in the original sequence can still be accessed and changed. Text lines from that sequence remain as well, so it is perfectly understandable that your sequence frame size would remain the same. I’m not a Premiere Pro editor, but I would hope you can change your sequence size to UHD and continue working.

Glenn

[Glenn Sakatch]

Most relinking problems will be a result of the of original transcodes not being done correctly to track the tape name/reel id.

If those transcodes are in correct, then your eye has more information as to what shot belongs where than Resolve does.

If you still have your avid offline, you can check to see what it is calling the tape names or Reel id’s. If it matches the original file name, then you should be able to relink. If it says something like MMSMOB.01 then you are in trouble. There are some incredibly time consuming work arounds I’ve done in the past from within Avid to re edit the raw clips into Avid based on the original clips duration, but you may find it easier to just manually relink in Resolve.

Glenn

[Glenn Sakatch]

And perhaps part of this is my lack of knowledge. I understand 608 to be SD captioning as well, but if i bring in a .scc file, export it as mxf file, both Premiere and Switch show me the captions in the 608 stream, but not the 708 stream.

MediaInfo tells me there is something in the 708 stream as well, (but perhaps it is an empty caption track?)

I need an expert on captioning to chime in and explain what i’m seeing, and what i’m outputting.

Glenn

[Glenn Sakatch]

Hi Michael, are you saying your assumption is the viewer is showing 708 captions, or that it only exports 708 captions?

Glenn

[Glenn Sakatch]

Sounds to me like someone with a FCP background is simply insisting on ProRes files “cause they are better”

Glenn

[Glenn Sakatch]

The usual suspects are not set up correctly in your screen shot. You are currently setup to relink to media using a database. This would be avid created media available to your system, in an MXF/* folder setup. As Bill said, you need to select the button lower on the screen. “Relink to selected media in open bins”

I always tell people to keep their original ama bins, but that is really for convenience, especially for large shoots. If you don’t mind spending the time rebuilding all your links, then it doesn’t really matter.

I would also suggest thinking about upgrading. The whole ama workflow keeps getting better with each release.

Glenn

[Glenn Sakatch]

From a color standpoint, there are plenty of reasons to go back to the originals, depending on the type of camera, and how the transcodes were done in the first place.

Glenn

[Glenn Sakatch]

Depends if you want to make 175 res of everything, or of just the shots needed in the sequence. If you want 175 of everything, then there really is no need to do the 36 media in the first place.

Glenn

[Glenn Sakatch]

There are a few ways of doing it. I prefer to point the sequence to the ama links.

Duplicate your sequence, and add “Linked to raw” in the title.

In your timeline settings, at the bottom of the timeline, under the hamburger menu, select colors or clip colors and turn on AMA. This will put all clips that are ama linked in your timeline to purple. Much easier to see your progress this way.

select all of you ama links. Either put them in 1 bin, or multiple bins…doesn’t matter, you can select multiple clips from multiple bins for this as well.

Once they are all selected, right click on the sequence “linked to Raw” and select relink.

Click the button labeled – Relink to selected clips in open bins.
from here you might have to play with the relink options…espcecially the source id, source clip name option.
I usually turn off the match extension button, and the other one which I think refers to upper case or something? Make the selections as generic as possible.

Tell it to relink.

In a perfect world, your entire timeline is purple, and you are now using the original ama clips to compose that sequence. In a not so perfect world you may have to play with the relink settings for timecode and source name. Hopefully the media was transcoded to low res in a proper workflow, which will make the relink much easier to do.

BTW, the relink dialogue will allow you to have the box link from low res to high res media as well, but that is a slightly different workflow.

Glenn

[Glenn Sakatch]

You need to realize what your delivery specs are from the broadcaster. You also need to worry about your timing.

I’m not a fan of resolves editing functionality yet, but that is a different topic. If doing this in Avid you would typically edit in 23.98, but monitor you timing at 29.97 dropframe. Failure to do your timing in 29.97 will result in all sorts of issues down the road.

Im not sure that Resolve will offer this option, so you may want to consider that before you get going. A proper workflow with some simple tests, before you start editing will easily help you with any round trip issues.

DO NOT START YOUR EDIT UNTIL YOU UNDERSTAND YOUR PROCESS!

But back to my first paragraph, get a spec sheet from the broadcaster. Understand their break structure. (CBC is going to ask you end on a full second and start on a full second for each segment.) This can really screw with your mind when doing your final timing.
They may also accept a 23.98 version of the program, depending on who you are submitting it to.

In any case, yes, cut in 23.98, and keep a version of your 23.98 file. You can even have the sound house work from that copy. When everything is done, you then convert it to 29.97 df for the broadcaster. The 23.98 (Universal) master is fairly common these days for internation dubs as well as DVD copies of the program.

Glenn