[Martin Fox]

Yes I work in a 1080 timeline as that’s mostly how I am delivering and my monitoring is 1080. The only 4K deliver I’ve done I worked in 1080 and then modified the seq to 4K ( select seq>clip modify > set format, this has to be done with project settings set as 4K)
I would suggest this is how you work with your version 7 MC , the relink should work back in vers 8 MC to the 4K originals.
I have not used the 1/4 rez transcode as I’m using frame flex to do reframing and I was concerned about camera focus and wanted good Rez to make offline decisions. But I don’t think you need to change the seq format to 1080 to work with the 1/4 rez.
Do tests on the whole pipeline and let us know your results.

[Martin Fox]

Digital Anarchy Transcriptive Was shown at NAB this year
https://www.newsshooter.com/2017/04/27/digital-anarchy-transcriptive-nab-2017/
Looks pretty good, using web based transcription

[Martin Fox]

I have just had a lot of problems with relinking in a project where the transcodes were done in version MC 4 and the relinks were done in 8.6, I would recommend upgrading before you start.

[Martin Fox]

Here is my workflow
Link to camera original, either by Option drag from the source folders into the avid bins , or use the source browser to link to the camera files.. ( add reel names to the TAPE NAME metadata if going to resolve for colour , see Scott Freeman blog on creative cow)
Transcode to the DnxHR Lb codec using full raster. Make new bins , sort the transcoded media into these new bins, and name the bins, so you know which is linked media and what is transcoded media.
Edit in a 1080 timeline ( my preference, as I’m set up that way)
When you want to relink, close all the bins that contain trancode media and open all bins with linked media.
Highlight the sequence and relink using the “relink to media in all open bins “command.
Your sequence should now be linked to the original master clips at the start of this process.( it’s good to do this on a duplicated sequence)
Using the timeline menu option: ‘clip colour’ set to show ‘linked media’ , check your timeline for any clips that did not relink (sometimes happens? If it does , I hide the avid meadiafiles folder on the media drive so all trancode media would appear as OFFLINE , do the relink command again and this will usually solve the relink issue)
You now should have two sequences one linked to trancoded media , the other linked media.
Note that importing and batch importing are completely different workflows, and are not interchangeable.
I recommend you test this out with a small number of clips. The final step is to highlight your ‘linked ‘ sequence and trancode it to the codec and handle length you want, phew!
(I find it helpful to use a different media drive for this transcode, to keep low Rez and high Rez media separate, for archiving etc)
Let us know how you go with your TEST.

[Martin Fox]

My practice is to use the dnxhr codec which doesn’t conform the frame rate to the project frame rate;
Make a project at the size and frame rate you wish to deliver,
Ama link to the footage transcode to dnxhr, edit into the timeline, avid will automatically conform your footage to the timeline frame rate , (you will see a little icon on the clips to indicate a speed change).
if you want to manipulate frame rates, use the motion fx editor to changet the frame rate of your clip in the timeline.
The problem with this workflow, is that dnxhr only supports frame rates up to 50 or 60 fps!
So for clips of higher frame rates , I slow them down to 50 or 60 fps in a program editready (mac, but I’m sure there would be a pc equivalent). Then Ama link them and transcode as before.
Martin

[Martin Fox]

I’m using a Blackmagic mini monitor, to see the correct colour space, and to see the correct frame rate.
When computer monitor draws the frame , it does so in it’s own time base which is different to afilm frame time base ( typically computer monitors refresh at about 60 HZ ), consequently you see tearing of any verticals in the image and a kind of juddering on pans, this because the monitor frame draw and the video frame draw are not synced.
When you use an output like your AJA they are synced.

[Martin Fox]

Here is my workflow;
Rewrap in editready
Ama link all 25 and 50 fps clips in avid and trancode to required Rez using new flexible frame rate codec DnxHR
Convert all 100 fps clips in editready to 50fps (slow mo half speed) , Ama link these clips in avid and trancode to DnxHR (the avid DnxHR codec only supports 50 fps as a high frame rate), use avid motion effect editor to tailor slow mo effects.
Work in HD project, use frame flex to re frame 4K shots (must be recent avid version as older frame flex is soft)
Edit til ready to conform to full Rez. relink sequence to Ama originals and transcode to best Rez for the project. Bake in frame flex shots, Round trip with resolve.
There is also a way to do all the rushes in resolve and open them in avid, but I have no experience with that workflow.
Would appreciate your posts on your experience- Martin