[Jon Hensen]

Thanks for this Michael. Working with my GM to figure out what we need to do in house to treat the footage with the right respect.

First off, what’s the right process to assign the REEL again? I can juts manually do that when I’m creating the DNx 36 proxies right?

Second (and third and fourth… sorry), I see what you mean about finishing in symphony. We are still an MC 7 house. Would you recommend upgrading at least some of our bays to MC 8 to properly set up our sequences to handle the 2k ana raster? Would there be potential nightmare scenarios if we went ahead and did our offline in MC 7 with 1080 projects, then worries about the proper raster settings once we get into online? Can MC 7 sequences be loaded in MC 8?

I’m going to be away from the studio for a number of months and wont be able to shepherd this project as much as I would like. Trying to come up with a plan to leave everyone in good shape.

thanks again.

[Jon Hensen]

Hey Michael,

Right now we’re figuring out the details for the deliverable, but I’ll be setting it up for 1080 for now.

Probably edit offline in MC, and finish in our symphony as long as it stays at 1080.

Do you suggest finishing outside of MC?

Oh and we’ve locked into 2k anamorphic at ProRes 4444. Which I guess means our deliverable will be 1080 after all… unless we make a 2.39 deliverable for theatrical release of some kind.

Any thoughts or suggestions welcomed. Thanks!

[Jon Hensen]

The latest .mxf ARRI RAW is not supported in MC at this moment if anyone cares to know. Gluetools AMA plugin only supported .ari files.

If anyone has experience working with either 2k or 2.8k anamorphic media in media composer, I’d still love to hear any frame flex quick tips. I’m slowly getting there but am having to do quite a bit of trial and error.

Thanks.
-Jon

[Jon Hensen]

Even still, I may export a full res master and THEN make your H264 file after with a compressor with more control. You’ll find better results in the quality of the file if you export a full res ProRes HQ or DNxHD (or whichever flavor to your liking), and then tweak the file from there having all the information. I’ve never been super impressed with the H264 compression directly from AVID.

Also in general, you may find that having that full res master at the ready comes in very handy in a pinch. It will allow you to bake the file six ways to Sunday if need be, when the client inevitably comes back and wants a version in a different file format. You won’t have to open AVID again to access the first generation.

Happy finishing.

[Jon Hensen]

Are the clips offline? Or is it as you say that they have a red line striking through the video, like certain trial versions of select video plugins? Screenshot for ref?

Are you using AMA to screen the footage or have you transcoded to make Avid Media (MXF wrapped)? For Media Composer you don’t need to store your project and media in the same location necessarily, just need to access the media the same way you initially did in order to avoid re-linking.

There are many ways of figuring out where your media is being accessed from if you do not know. The fast menu on the bottom left of the bin has an option to “Set Bin Display”, then select the box “show reference clips”. This shows you every clip in your sequence. Navigate to “Drive” or add additional columns to get more info like “source path” for locations or “video” for codec.

[Jon Hensen]

AMA link to source footage. Have the bins with the source open. Relink sequence (see below to my UPRES relink setting for F55. Hint* Maybe check AMA clip color box so you can see what’s relinking.) Then transcode sequence checking “Transcode only AMA”. Repeat with next round of drives.

[Jon Hensen]

Think there is any recourse to troubleshoot, or am I stuck with defunct hardware?

[Jon Hensen]

I’ve had success doing this only by using Resolve as an intermediate… Resolve is a free download and install if you don’t have it already.

Seems a bit painstaking, but it worked well enough.

so AAF export from AVID…

import AAF into Resolve, export .xml…

Import .xml into Premiere.

A workaround I know… But do a couple tests and let me know what you think, not that much of a time sink, but it is another step I will admit. The important thing is getting you up and running in CC.

[Jon Hensen]

Anyone know if we can expect an official statement of some kind from AVID for all of us who carry software/hardware support for our licenses? Recommended practices without Quicktime? Whether or not to uninstall period?

Considering Quicktime is such a foundation, and if it’s such a big risk, shouldn’t there be some sort of urgent overture made?

I’m pinging a few of my vendors to see what the basic word is. Any further information is helpful. It all seems relatively un-official to take drastic steps at this point.

[Jon Hensen]

In the export interface navigate to the audio tab and select “DIRECT OUT”.

This will export your sequence as it is configured.

The only catch for DIRECT OUT to work is that all of the footage needs to be uniform in the same codec. If you have mixed codecs but are happy with the resolution of each file, you can perform a video mixdown in order to allow the DIRECT OUT option to work.