Illya Laney
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Yeah, it’s too bad they didn’t expand into other cameras.
twitter.com/illyalaney
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How did they label the Tapes in Avid? The Tape column should actually be relabeled as Source since everyone and their momma is using tapeless cameras now. The key to a “solid” roundtrip is making sure everything in Avid is set up right in the first place and typically each camera roll/card or file should have it’s own unique tape name to prevent any timecode conflicts. This problem arises more often when using DSLR footage though.
If their tape names are bunk you’ll have to modify the source/tape name. After a Master Clip is linked to a file, you have to “unlink” the clip in order to re-label the source/tape name and the only way I know how to do that is by holding Shift + Control and RIGHT clicking on a clip then selecting unlink. I think it’s Shift + Control, but it could be Shift + Command. I won’t have Avid in front of me until later tonight(the sweet dailies Graveyard Shift) but I’m sure you can figure it out by button mashing.
Hopefully Avid MC 6 will make relinking a whole lot easier.
twitter.com/illyalaney
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Funny enough, I was actually looking at that yesterday. It’s interesting to see the long list of big budget films that have used Lightworks. It’s double the number of films cut on Final Cut Pro and it includes many of my favorite movies. I had no idea.
https://www.lightworksbeta.com/index.php?option=com_content&view=article&id=107&Itemid=260
When I was reading some of the spotlight articles I also realized Avid is following in Editshare’s footsteps by heavily integrating the MC Transport control surface in Media Composer. Here’s some of the features I can’t wait to see:
– Node based compositing
– ALE import
– Tangent Element support
– Blackmagic support
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SpeedGrade? LOL
twitter.com/illyalaney
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David Lawrence
“Imagine being able to use a laptop in the field to log and tag footage instantly, do quick assemblies and rough cuts, etc. Then export and finish in a more powerful, flexible, editorial system. Something like that would rock.”The Foundry’s Storm already has that covered and more.
twitter.com/illyalaney
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Most of our shows are Avid, so my studio uses a variety of AAF and custom ALE workflows with Terabytes of Alexa/Epic footage everyday. : )
I should have made my last post more clear. I’ve been using Automatic duck since 2005-2006 and I know for a fact that even if you rebuild the Avid sequence in FCP using an AAF, you can’t relink the clips in FCP to MXF files and therefore can’t grade and edit off of the original MXF files created in Avid. The keyword here is MXF. Maybe that’s where you’re getting confused.
Automatic Duck “discards” the MXF container and re-wraps the Avid video and audio into Quicktime so FCP can read those files. This is not an instantaneous process and in the case of online quality DNxHD codecs, it takes a significant chunk of time. Quicktime re-wrapping is also buggy and can produce weird gamma issues with Avid codecs.
The original post was about working with MXF files, not re-wrapped Avid codecs, so being able to recreate an Avid sequence in FCP is useless if the intention is to work directly and quickly with the MXF files. Either way, re-wrapping Avid media or creating Avid Quicktime codecs to online an entire show or feature is a huge waste of time unless the client really wants to work that way and is willing to pay for it.
Like I said in my earlier response to you:
“Joseph was using MXF and unless this footage is converted to some sort of Quicktime wrapped DNxHD, FCP can’t read those files because it can’t read MXF wrapped video/audio.”twitter.com/illyalaney
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kim krause
“joe mentioned aaf and i have on many occasions dragged avid projects into final cut using automatic duck and then sent it to color for grading and then after sending it back had fcp make me a new avid project as well….whats your problem?”FCP and Color can’t read native MXF files so you must have been using something else. AAF has nothing to do with what codec you’re using.
twitter.com/illyalaney
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Color temp in regards to non-raw material is basically blue/orange bias and tint is usually magenta/green bias. If there’s no raw data involved, color temp values are arbitrary. Tint is useful when working with multicam Alexa footage because there always seems to be a green/magenta bias between the different cameras. If you want an approximation right now, the green curves can be used instead of a dedicated tint slider.
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kim krause
“i would just use the automatic duck to send the whole thing to FCP”How will you manage to do that?
Joseph was using MXF and unless this footage is converted to some sort of Quicktime wrapped DNxHD, FCP can’t read those files because it can’t read MXF wrapped video/audio. Besides that, FCP/Color will be gone in a year or two and so will FCPX. Best to spend some time learning Avid workflows since a large part of the market is going to switch.
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Fotokem’s KMP uses a Nucoda/Avid workflow and it works well. A lot of work is shot with Alexa and follows the basic offline/online editorial routine.
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