[Jon Hensen]

I have to agree with Glenn about the redundant process of re-linking your AMA clips to the ones you just transcoded. Trying to think about why the post house would urge this for online reasons…

Just want to throw out there that you can change drive path letters when going back to windows platform to match whatever letter they were ingested from. Simple thing to do in disk management. That has saved me time in the past by using my original AMA bins on different systems without having to create fresh AMA bins. i.e. original bins link to drive (:E), and is mounted on different system as (:F) – Tap into disk management, right click on drive and change properties.

For the C300, you have the XF plugin yes? https://www.usa.canon.com/cusa/professional/products/professional_cameras/cinema_eos_cameras/eos_c300#DriversAndSoftware
Should be linking fine as long as folder structure is in tact. If you select a folder in the path prior to the “01” folder created by the camera, it will link to the whole card.

All very well things you are well aware of. Just good to double check!

Good luck, and let us know if the Post house has some secret concerning there online process. Seems unnecessary, but we learn new things everyday!

[Jon Hensen]

BUMP

[Jon Hensen]

OK. I figured out how to tweak it after transcode by simply changing the aspect ratio setting in the FrameFlex box in Source Settings.

What you are also telling me now though is a little alarming. I’ll check into that. I would hate to have to relink for framing to get the correct resolution. Especially if the media is already high res (which it will be!). That does theoretically make sense though.

Thanks again.

[Jon Hensen]

Thanks, Michael.

Are you saying to adjust settings in the frameflex tab? I don’t specifically see anywhere to set target size. There are aspect ratio options however. I do see that I can play with the Y axis within source settings, and choose to center crop. What I am wanting to do is transcode with 1440 height and be able to manipulate whenever I want. Not just during ingest.

[Jon Hensen]

Hi Michael,

I understand your frustration. I too see a lot of things in other NLEs that AVID cannot “exactly” replicate. It does do a lot of things well though that in the end save you time. For this process of organization however there are just a couple extra steps you will need to perform in order to achieve the results in your workflow.

A few huge, integral navigational functions in MC involve using a combination of match frame, find bin, and the set bind display function.

First for both of your sequences, make sure they are in two separate bins. Then locate the “hamburger” symbol (as people like to call it) in the bottom left of the bin interface. Find “set bin display” in the drop down and then check the box “show reference clips”. This will show you the contents of your sequence.

With reference clips shown, you can easily match back to clips existing in you timeline using match frame then find bin. This combination will pin point exactly what clip you are either hovering over or have selected via in and out points.

From here just color your clips however you like. Then look to your timeline “hamburger” symbol and select clip color in the drop down. Check the box marked “source” and voila your clips will appear colored as you have customized them in the reference clips.

A couple more steps here than Premiere, but once you get used to it goes rather quickly. And hey you might find a way to tweak your workflow along the way to make it a bit more AVID friendly. I struggled with these challenges during my transition to MC but have grown to love many of the other features. By and large it’s an interface that promotes swiftness in the edit bay.

[Jon Hensen]

To add briefly to this occurrence your witnessing…

I have had the same issue with F5 or similar cameras that require a specific folder structure for ingest (i.e. C300).

If there is any additional folder that was created by the media manager or DIT in the field that interrupts the “native folder structure” (for lack of a better term) this will prevent the AMA link. Remove any extraneous folders and simply clicking on the root folder will set you up with the batch you need. Also it seems MC will not link to AMA after 3 user created folders are made in the path to the RAW media. The max I’ve seen work is two (someone verify this?)

For the F5, the successful folder structure should be outlined as:

Top level folder – “01_F5A_141113” (or however you would like to label it)
Second level – “CARD #” if you would like…

But after this must come the “XDROOT” structure. If there are too many folders prior or any in between XDROOT and your clips AMA will not link.

Probably stuff you already know but just putting it out there!

[Jon Hensen]

LUT was applied in Premiere.

[Jon Hensen]

Thanks Michael and Pat.

Funny thing. I’ve been trying to get in an edit bay with a broadcast monitor for days. I finally did and the color is just fine as you said, Pat.

Side note. I brought the same material into Premiere Pro and didn’t have this “accurate preview” issue. It previewed fine in Premiere.

Do you know if AVID as opposed to other NLEs requires a broadcast monitor to see LUT transformations? I understand that in reality all NLEs require this to see true levels, but AVID wasn’t even close without, whereas Premiere Pro was on the money.

Thanks again.

[Jon Hensen]

Thanks for taking a look, Pat.

So does that mean I have to click bypass transformation for the material to look “normal” as you say?

Or are you saying that the LogC to REC709 transformation is good? It is not usable in the state I see it. It was immediately alarming to the DP upon looking at the footage within MC. Incredibly over saturated and crushed.

Sorry I’m just a bit confused.

[Jon Hensen]

The picture is getting clearer.

I’ve just done my first preliminary batch of transcoding to assess the results.

What I’m seeing is this…

COLOR SPACE:
Arri ALEXA LogC (AMA CLIP)
ARRI Log-C gamma [64-940 (8bit)] (Transcoded DNxHD36 clip)

COLOR TRANSFORMATION:
ARRI ALEXA LogC to REC 709

I was provided with source ProRes HQ files. It was confirmed they did in fact apply a look in the field. The resulting REC709 image is incredibly crushed and saturated which is worrying. I remove the color transformation in the settings and get back to the LogC look taking us back to a blank canvas.

I guess my next question is if I am missing anything metadata-wise during ingest? Is MC seeing the applied look correctly? Is this REC709 just a stock LUT in the camera which is the culprit for the across the board satuaration issues?

One more little piece of information is that this was all shot on an AMIRA not an ALEXA (apologies). I don’t know how much that changes things. I found little literature on this latest and greatest of ENG cameras.

Thanks Job and Pat.