[John Pale]

I’d go with proxies… they exist for exactly what you describe. Render and Replace is more for interchange with After Effects, when having AE Comps in the timeline slows things to a crawl. I know you can use it for other workflows, but its really not tested extensively for anything other than its intended purpose.

[John Pale]

Seems like they want to fill the 16:9 frame without letterboxing.

Bring the film into a 1920 x 1080 sequence, then resize it. You need to resize height and width separately since your film is not 16:9 (its wider!) , so you need to uncheck the box in the transform controls that forces them to be locked together. Resize the width to fit the 1920 frame EXACTLY, then do the same for the height. The film will look squeezed. They are asking for anamorphic, so this is what they seem to want. It will be unsqueezed by the projector. Export the sequence as ProRes HQ 1920 x 1080. 23.976 aka 23.98 fps, if thats what it is, or 24 if thats what it is.

If you are hesitant, why not ask them if they will accept a short test file from you?

[John Pale]

Thanks for posting that Blaise. Even though I am not a camera operator, I’m keeping this one.
Dealt with grading some bad looking flat/log footage recently and now I know what went wrong on the shooters end.

[John Pale]

Not sure how much movement is in the shot, but if you can put another copy of the clip on V2, you can use Animatte to draw feathered masks around the people, so you can correct the background somewhat separately. Have to do this carefully or the people will look like they are glowing or something.

Tough to do this kind of thing in Avid. Even with the Symphony option, it would be tough with a white background. Somewhat simpler with a color easier to isolate.

[John Pale]

If you want to use Cineform, it’s included with Premiere Pro/Adobe Media Encoder. You don’t neeed to buy anything.

Cineform, ProRes and Avid DNX are all professional quality codecs. None of them are technically lossless, but they are visually pristine. Cineform might not be a good choice if you need to share the media with someone who does not have Premiere already, since it’s less commonly used.

You don’t need to transcode unless your machine cannot handle editing with AVCHD, which can be processor intensive.

[John Pale]

Video does not look terrible. Certainly should be grade-able to look decent.

Your program monitor is set to 1/4 resolution. Are you judging by that image?

[John Pale]

Problem here is that an EDL was, and is, essentially a bare bones way of getting edit information into the “dumb” linear tape-based edit controllers of yesteryear. When editing tape machine to tape machine what the heck is a gap? Blank tape on the record machine? Of course not. You need to have black. Of course you can do way more in an NLE, but that’s why XMLs and AAFs were invented. EDLs never evolved with the times.

Probably a way to edit out the references to Black in Excel. Worth a try. It’s basically a tab delimited spreadsheet.

[John Pale]

Change the 1 to a 4

EDIT==nevermind. I thought you wanted 4 seperate tracks.

[John Pale]

sounds like you imported the clip as stereo and placed it on a mono track. Do you see one clip with dual waveforms on a single track?

Modify the clip to be mono in the project/bin. Right click on it and select modify.
Clip will now have two separate tracks that will take up two tracks in the sequence.

This will not affect clips already edited. You need to replace them if you have edited with them.

[John Pale]

Use Project Manager to Consolidate and Transcode the existing sequence to individual clips (with handles).

The consolidated sequence will point to individual media files for each shot, which you can then take offline and relink to new media.