Michael Phillips
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COW Coin
Forum Replies Created
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If I know I am going to Adobe, Resolve, or other similar system, I have switched over my workflow to exporting MXF OP-1a and avoid the whole .mov fiasco. It is also a faster export as per my blog:
https://24p.com/wordpress/?p=278Michael
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The issue is not so much the codec, but QuickTime Movieplayer being the culprit in trying to “correct” for optional viewing. ProRes and DNxHD will behave the same way. QuickTime Player 7 is better than QuickTime Player X.
Michael
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In Media Composer you can create a common metadata value in a separate column to use as the relink between a sequence and a clip. You can also adjust for timecode in one of the AuxTC columns if needed. It is not as straightforward as a direct force relink, but it can get the job done in certain situations.
Michael
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If AMA linking, Media Composer does not support any embedded REEL ID anyway – it uses the file name. I also question why the interim step to ProRes if grading the DNxHD material. And when roundtripping AAF to the MXF media (trnasocded) link and conform and pretty straightforward.
Michael
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There have been other threads that have raised issues with Sony Log file giving a different look. Have you tried a different wrapper other than QuckTime to eliminate that as being an issue? (MXF, DPX, etc.)
Michael
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Good question. You can highlight columns and click “delete” and you will be presented with a “hide or delete” dialog box. Now whether this truly deletes it or not is the issue. You would have to also delete any bin views that contain that column and ensure than any sequences made from those clips are updated which may be the hardest thing.
For future reference, but you seem to already be aware of the limitations:
https://24p.com/wordpress/?p=224
Michael
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Need more info as per above – screenshots of master clips with Tape and Source File columns showing, and what is expected by the timeline. Are the the same name, different column?
Michael
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You understood correctly – I exported both an AAF from a sequence that was AMA linked and another AAF test exported from a sequence that was transcoded. In all cases the conform worked for mixed frame rates and resolutions.
How you choose to work and when and where transcoding is done is entirely up to you. It all depends on the footage type, etc. Some prefer correcting from the camera originals especially if they are RAW formats, etc.
Also, MXF 1:1 is not necessarily better than 175x at 1080, but you’re just taking up a lot of storage space.
Michael
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There are several different workflows you can take on depending on what you to do. My test was only to prove that you can take a sequence of mixed frame rates and resolutions via AAF to Resolve, conform, and color correct and send back same frame rate and resolution using the source clip method. This can be done by editing AMA natively the whole time, or via a transcode. It shows that in all instances the source file, resolution, and frame rate are perfectly maintained.
As far as transcoding and you want to transcode to a higher DNxHR resolution, you need to be in a non HD project. WHy? I don’t know, kinda stupid. But since I was showing a conform back to camera originals, I was fine with DNxHR LB which is available directly from my HD project and preserves frame rate and source irresolution, but only as DNxHR LB.
I then exported an AAF from the AMA linked media as well as one from the transcode media and both imported, and conformed. I color corrected and crated new DNxHR media, but this time high quality DNxHR HQ from Resolve as these are now my new masters. Brought them back into Media Composer and original sequence relinks for me to whatever finishing I may need to get done. This assume MC is the final step in mastering and delivering. There will still be a final frame rate conversion done to whatever your delivery is going to be.
Michael
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I just did a quick test. 1080p23/976 project. AMA linked to different frame rates and resolutions. Transcoded keeping original frame rate/resolution (source dimension – DNxHR LB). Exported AAF of mixed frame rates, brought it into Resolve, color corrected, exported out as DNxHR preserving source frame rate and resolution. Brought it back into MC, and other than codec, all else is the same – easy-peazy for relink.
Michael
