[Henry Barrial]

That makes a lot of sense and feels so unfair. Avid sold me on this workflow. Really made me believe it could be done. It’s hard to accept defeat after a week of tutorials and 3 weeks of AMA linking, logging and syncing.

[Henry Barrial]

Michael I’ve had a complete reversal in a manner of hours. Just when you think you’re winning…It’s as if AVID is trying to get me, I swear. The new strangeness began with an inability to re-link to audio. In an attempt to keep the editors working, I devised a plan to work on a 2nd computer using a mirrored drive. I would re-link to AMA files in a 23.976 project then email the bin to the editor. It worked one time and then we were cut off. I can re-link AMA video but, even though I had already successfully re-linked audio on a previous scene, that workflow suddenly stopped being successful. For some reason AVID lost the ability to re-link any audio file on the mirrored drive. I’ve tried it on multiple scenes now.

So, I decided finally to sync the next scene from scratch in a 23.98 project, as I had at the beginning of this process when I committed the dreaded 29.97 error, and sent that bin over to my editor and that didn’t work (even though we had successfully accomplished that once previously). The editor had trouble reconnecting and matching back to audio. Same crappy messages I was getting with a window popping up that asks me to change the settings (which I do) when I simply try to “re-link.” Or it gives me a message that it is: “Unable to relink AMA clip to selected file. It may be incompatible with the original. (i.e. file type, edit rate, track list, duration)”

I am not even able to re-connect media files to manually selected audio clips even though the audio name has not changed.

I am at my wits end. I was warned not to jump into MC6.01 but it was out of necessity with the editors. I went to 6 because it can handle the ProRes natively (supposedly).

[Henry Barrial]

Michael, thanks again. We will forge ahead with the match frame solution. See,s to be working thanks to the AMA linking. AMA gets a bad rap but I think it’s pretty cool from a former FCP user’s vantage point. Thanks!

[Henry Barrial]

Lost the stutter. Everything plays back fine. And since this is all done through AMA linking it shouldn’t be an issue later on (I hope) with generating an EDL.

I do not have a green dot on my newly matchframed subclips. Should the green dot be there and if not is that a problem?

[Henry Barrial]

I’m a novice so that is a little confusing. What I think you’re saying is export my audio/video subclip as a wave file but I don’t know what an autosequence is, so I’m a little lost there, then import the wave and throw it on a new timeline and it should be in 23.976?

[Henry Barrial]

So Michael, last night we created a new 23.976 project, copied the 29.97 project and pasted it in the 23.976. All the RAW audio & video converted to 23.98 but the subclips did not. I then matched frame manually for both audio and video. The subclips retained their sync and I was able to cut the process in half by not having to re-log the footage. Is this match framing going to present a problem with an EDL later down the line?

Thanks for your earlier reply.

Henry

[Henry Barrial]

I understand. I was aware of REC709. WE will be recording in prores no matter what. I’m just trying to decide what we will do after we capture the footage. Thanks

[Henry Barrial]

Thank you Michael I will look into REC709.

[Henry Barrial]

Since we dont know of a production that’s shot directly to DNxHD we have been advised it would be risky. We can always transcode later.

[Henry Barrial]

Job, what do you mean “constantly adjusting image?”. My understanding is that mc6 re-wraps the files without transcode which is time consuming on these large files. I like the idea of staying in the native format but if it is a big headache for the editor I will reconsider.