Jon Wright
Forum Replies Created
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Yeah, I’m aware how it works with going to resolve, and didn’t suggest the clips would be viewable if the AMAs were offline- Just that the relink process works regardless of the media being online.
Hopefully OP’s problem is sorted one way or the other now…
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Actually it works even if they’re offline, we do it here for creating AAFs with the original clip file names for sending to Resolve.
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Hi,
Pat’s right, you don’t have to delete the original AMAs, at our place we keep them in a separate bin.
When it’s time to relink just open the AMA bin, select all files, then select your sequence (so you have all the AMA files and your sequence highlighted) then hit relink and make sure you select ‘link to files in selected bins’ (or however it’s phrased) which is the second option down at the top of the relink window.
Hope this helps.
Jon
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I’ve found this happens sometimes when my source files are in a number of different folders. My previous logic has said ‘If I link to the root it will sort itself out’, but what I’ve actually found is that I have to change the source of a group of clips that are in common folders at once.
Don’t know if this is that case with your project, but for example if I have a drive full of Alexa footage in subfolders of reels, I have to change the source for each reel individually for it to work.
Hope that helps.
Jon
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Just upgraded, all good so far! thanks guys
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I’ve had that same thing using Alexa footage, the most annoying thing is I don’t even get the option to link the clips to other files (in the traditional ‘R’ in the corner way) once I’ve created the new timeline with handles.
Think it must be a bug, but not one isolated to Red footage.
Jon
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Hi there,
That looks fine to me,
“1. Deliver final master DNX185x MXF to client.” – once you have the MXF file in your avid sequence we’ve found you’re fine to export from Avid into other quicktime formats as you need, or play out to tape etc. The point of using MXF to deliver from Resolve to Avid is just to keep that one time colour consistency, so you’re not tied the MXF past that point.
Just partially used this workflow in the gap between replying, still working fine for me!
Good luck!
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Hi there,
We have a very similar workflow for commercials here, I’ve found the most reliable thing to do is export the graded footage to full quality DPX files for after effects. If you need the whole sequence in after effects then generate an AAF and use Pro Import to get it all in, then relink your files to the DPX renders from resolve. I always make sure they render to separate folders shot by shot, then you can easily link them back in after effects.
Once any graphics work is done, render the files back to DPX and add them into your media pool. Insert them into a copy of your sequence and check the video. Then for delivery into avid we’ve always found that exporting to ProRes shifts the colour on Import (as is well documented) which screws appearance of the grade up and creates much profuse sweating and head scratching. To get around this, we just render directly to a DNX185X MXF file from Resolve, either shot by shot with and AAF or as a full commercial edit if it’s definitely locked. Then use the media tool to get it into avid and drag it into a bin of choice.
This might benefit you as you can’t output ProRes 444 from your windows box. We’ve done at least 10 ads this way since last year and it seems to work nice and smoothly every time.
Hope this helps,
Jon
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Sounds like he knows that, he just wants to know if there’s a difference in having to use the USB 3 with a mac mini…
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Just got mine, took a while for the page to load up though.