Michael Phillips
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COW Coin
Forum Replies Created
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I would make sure you have the latest version of the RED AMA Plug-in installed. I have never seen any real difference for RED whether on OS X or Windows. Even the Windows version of RedCineXPro will create Apple ProRes.
What version of OS, what version of MC and what version of RED AMA plug-in?
What project type are you creating dailies for?
Michael
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When you say project cannot relink, can you be more specific? Are you saying your original master clips, sync clips, subclips, group clips, sequences, etc. don’t update with the newly created media? Were those files creates as native MXF OPAtom? If you put those files into their own numbered folder in the Avid MediaFiles/MXF folder structure, do they appear as clips in the bin when you import the msmMMOB.mdb into an empty bin?
I find Media Composer to be hit and miss with new mediafiles, especially with group clips. My preferred method when trying to update the media only and not the master clip metadata in Media Composer is to export out an MXF OP1a from Resolve or MOV with whatever DNxHD codec you are using. In Media Composer, go back to the original master clips that have the wrong LUT and delete the media, but not the clip. Then I batch import the OP1a files into those clips. This preserves all the downstream clips that were made from the original master clip.
Michael
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If your footage is 23.976 from the camera, then your only choice is DNxHD 115 as 145 if for 30fps frame rates, but they are the same data rate “family” that Shane is suggesting.
Michael
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There is no difference between Media Composer and Symphony when dealing with different file-based sources with mixed frame rates. When you AMA link to sources, you can go to Source Settings for each (or all) clips and in the playback TAB, choose between preserve source or convert to project rate. Converting to project rate will convert frame-for-frame so a 50fps source will play 2x slower, whereas a 23.976 source will play back 4.1% faster, etc. Media Composer 8.9.3 added additional support for relinking across frame rates, but have not tested it enough to know all the details.
https://resources.avid.com/SupportFiles/attach/WhatsNew_MediaComposer_v8.9.3.pdf
Symphony offer universal mastering for tape-based workflows where you can take a timeline and play it out as different frame rates. With the Avid iQ IO box it has support for frame rate conversion for tape-based capture as well if you happen to have tape decks that play the different frame rates and formats you might encounter. ☺
Michael
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If ProRes sources, you should be able to consolidate and not go through a decode/re-encode process. Also, make sure that there is no LUT being applied as some LUTS seem to cause banding when transcoding.
Michael
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If you do a match frame to the music event in the timeline, what does it bring up? You may have to overwrite with the newly updated clip as a last-ditch effort.
Michael
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Find the master clip WAV files that these clips were subclipped from, select them, and do a batch reimport of the original WAV files. If you can’t find the master clips, then do a “set bin display” and show reference clips and you will find them that way.
Michael
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There is no Avid whitepaper available that I know if that walks through an HDR workflow other than some information gathered here and there. From what I understand, using DNxHR HQX 12 bit codec will preserve the range needed for HDR but there are no other tools available internally such as color correction/waveform-vectorscope to deal with it. I also believe you need to set up the monitor manually as to which HDR method you want to work with such as HDR10, Dolby Vision, etc.
But would still be nice to get an HDR workflow doc on this.
Michael
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I have seen this behavior before for certain formats when you don’t make a sequence first. Transcoding directly from the Media Pool does not insert the timecode. Highlight your source clips, right-click “create a sequence from selected clips. Transcode the sequence on the deliver page selecting “individual clips”. Create MXF OPAtom or OP1a with DNxHD codec of your choice.
GIve it a try and report back.
Michael
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How did you transcode the files to OP1a? What codec was used for the MXF?
Michael