[Illya Laney]

A certain movie I can’t name shot over 4 TB of footage on EPIC in one day.

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[Illya Laney]

I think you need to get the Avid License for the DNxHD codecs.

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[Illya Laney]

michael stirling
“ALE is just a bin xfer protocol according to my Avid guy to move taking clips into legacy versions”

That’s the first time I’ve heard that. You can save and open .avb files on legacy(i.e. ANCIENT) versions of Avid. There’s no need to use an ALE as a “bin xfer protocol” when you can just save and open a bin file on pretty much any system you want(as long as that system supports the formats you’re using). Performing a “save as” for a bin IS the “bin xfer protocol.” The problem with your editor’s logic is that an ALE contains “project settings”(resolution, frame rate, etc.) and if you create a bin in a standard def project and try to import an ALE with an HD header, Avid won’t allow it. On the other hand, if you open a bin with HD clips in a SD project, it will work.

ALEs contain logging, metadata, and any custom info pertaining to events. If you open one in a text editor you can see what I mean. It’s much closer to a .flx file than an .avb file. Check the import prefs in Avid to get a better idea of all the different things an ALE can be used for.

On to the original topic…
Avid cares about tape name and timecode. Without that info, things tend to go awry, so make sure all your events are properly filled out before sending anything to Resolve. When using a tapeless workflow it’s easy to forget to fill out the essential clip info(tape names etc.) and that’s when I’ve seen problems with the Resolve roundtrips. For example, tapeless clips don’t come in with Tape info so you’ll have to modify an event in order to insert a tape name into the tape column. There are Tape and Tape ID columns so keep that in mind. I haven’t done it yet, but for AMA, I believe you need to transcode the sequence to MXF before exporting an AAF in order to work properly, and once again….make sure you’ve input a tape name.

[Illya Laney]

I’ve seen it work with a Cubix.

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[Illya Laney]

Dailies for a majority of the biggest films, commercials, and TV shows in the world end up on DVD and/or services like DAX or PIX(and soon nextSPOT). I’m trying not to sound like a money-grubber, but you can charge for encoding time and delivery too. I know a few studios that will actually charge $150 for supplying, labeling, and encoding each DVD.

[Illya Laney]

Without a Rocket card I don’t think you can finish 130 hours of Epic footage in 7-10 days. If you manage to render everything out in real time, it will literally take over 5 days for 130 hours of footage. We use our own software for dailies and a custom made chassis with 3 Rocket cards. It’s the fastest on the planet and it can only get about 48FPS transcode speeds with 5K stereo 3D(on a Mac). That’s full res debayer resize with a basic color correction(or RMD) applied too.

For your needs, the only thing I can think of is using two Resolve systems and then rent a couple Rocket cards. One system for color and the other strictly for transcoding. If you go the DIT route and they’re using shuttle drives, make sure to leave a day or two available for copying over the 17 TB of ProRes 444 footage to and from the drives.

twitter.com/illyalaney

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[Illya Laney]

Herb Sevush
“these have very little relevance to the glacial pace of feature film editing”

In Hollywood it’s not just features, but narrative television and trailers too. Believe it or not, there’s still many high budget trailers being cut on AVID in SD from DVCAM tapes.

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[Illya Laney]

What Avid features are clumsy?

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[Illya Laney]

Did they rename the actual RED proxies or just the clips in FCP?

If all else fails use the “Force Conform With Selected Clip In Media Pool” command. It’s busy work, but at least you can get the job done.

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[Illya Laney]

What are the Avid rumors?

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