[Michael Phillips]

Well sorry to hear about your troubles. As I said, AMA is in its continual v1 of functionality and we’ll have to see what improvements come to common offline/online conform type workflows in future releases.

For longer form projects, everyone will pretty much agree that AMA at best is a link/transcode process. R3D is special case due to Avid’s inability to relink if AMA and non AMA processes are used. Also, it is dependent on RED including the latest Avid SDK that would have the DNxHD444 for a selects transfer workflow.

For my R3D jobs, I always use REDCINE X up front with a transcode to native MXF wrapped DNxHD. First of all, it frees up the MC from being a transcode machine, it has access to ALL the color parameters should they need to be tweaked. Can add burn-in if needed, etc.

Also, for a performance based on editing style and program complexity, multicam, layers, VFX, your mileage goes a lot further with native DNxHD.

Michael

Michael Phillips

[Michael Phillips]

An updated step by step guide for R3D would be great! 😉

Working my way down your lists:

No need to copy clips to another bin. You can transcode directly from that bin.

No need to preserve filname in the NAME column, Avid tracks original files via the TAPE, TapeID or Source File columns. In your case, it will be the Source File column. Change the name to something useful like scene/take, etc.

The .new clips automatically link to the DNxHD36 from the transcode, no need to do all that relinking business.

As long as you use AMA from start to finish, the spanned files is not an issue. Also, source settings only work with clips actively linked via AMA, not the transcoded ones.

For relinking back to AMA, you need to hide the Avid MediaFiles folder with the DNxHD media, open up the bins with the original linked AMA and do a relink to selected that way. It is not the most elegant and obvious method, but AMA has a ways to go – especially for new users.

Avid uses the industry standard of AAF, there is no XML representation of AAF yet, despite the long time promise from what was the AAF Association. I beleive it’s still in the works. But Premiere Pro supports AAF, conform in PPro and move to After Effects if you feel that is a better workflow.

Also consider conform to original files via DaVinci Resolve which supports simple AAF or EDL.

Michael

Michael Phillips

[Michael Phillips]

I ran into this at the Sundance Labs a few weeks back with one project coming from the Sony F3 where dupe detection was going wild everything was a dupe. It would be great to a hold of those two files if it were something you’re able to release.

Michael

Michael Phillips

[Michael Phillips]

Interesting – And it’s not like its a long string and file identity is being done by a smaller amount of characters. If you were to link to each of those files via AMA in a brand new project – does the SOURCE FILE column show unique names? What camera is making these files?

Michael

Michael Phillips

[Michael Phillips]

Are you referring to source filename being managed as TapeID, Tape, and Source File?

Michael

Michael Phillips

[Michael Phillips]

I am hoping they extend the architecture done for stereo 3D clips to multicam and Autosync clips which allows the manipulation of 2+ clips in the stereo container to slide to create proper stereo alignment at the frame level. It also allows for basic source-side effect editing such as color matching and cropping for stereo alignment.

The architecture would be great for multicam since essentially you want to change the relationship of elements to each other within that group. The container also allow for clips to not have the same length and the window of view defaults to common spans, but is still available. This would be great for AutoSync to allow all the audio to be accessible since AutoSync defaults to the shortest clip and a match frame needs to be done to access either picture or sound sources beyond the boundaries of the subclip. Clips can also be added to the container after the fact…

Maybe in v6.5?

Michael

Michael Phillips

[Michael Phillips]

If you look at the “before” and “after” of these clips in the bin, with the following columns viewable: Source File and Tape – are the values in the same column and are they the same?

My guess is that there is either a difference in name or in different columns as AMA puts filenames as Source File whereas tape capture and many if not all third parties re-insert the source ID into the Tape column. So it is not an immediate relink. In v6, there was a feature added to allow relinking between Source File and Tape and there is a setting in the relink to address that. Keep in mind that it still doesn’t work for R3D spanned files where the original name has a _001 attached to it. All transcode render engines using the SDK only return the 16 character R3D name minus the extension as it’s handled by the SDK. For example, AMA a spanned R3D file and export the same one as MXF via RedCine X Pro and you will see the difference in the bin in the two aforementioned columns.

Verify to see of this is the case or not with your material.

Michael

Michael Phillips

[Michael Phillips]

Were this clips imported or AMA’d? Different frame rate than project/timeline?

Michael

Michael Phillips

[Michael Phillips]

When looking at the file in the bin, make sure columns Video and Format are available and it should tell you there.

Michael

Michael Phillips

[Michael Phillips]

You can have a desktop full screen in Media Composer, but as you say, it is just a second monitor, and not a the REC709 video signal. But if that works “good enough” for you, you do have that ability to have one monitor be dedicated to a full screen play. See “full screen play” settings.

Michael

Michael Phillips