[Michael Thibault]

So… basically I’m boned? Is this why nothing links up? Will modifying the Tape column in Avid and adding the Reel # in Resolve fix this?

God, my head is spinning. Friggin’ TAPE NAMES in 2015.

Avid Media Composer 8.4, FCP 7, cutting on an iMac Retina 5K, 27″ 4Ghz iCore i7 with 32GB of RAM

[Michael Thibault]

Do the Reel Numbers from resolve import as Tape in Avid?

Avid Media Composer 8.4, FCP 7, cutting on an iMac Retina 5K, 27″ 4Ghz iCore i7 with 32GB of RAM

[Michael Thibault]

Even when I export an AAF and try to import that into Resolve with the preference set to “Link to source camera files” it doesn’t work. And this is both ways: An AAF exported from the transcoded proxy media or from another timeline where I eye matched the AMA media and overcut it so the sequence matches exactly except for the extension.

I do not have tape names. I was under the impression this wasn’t required anymore for digital media. Is that correct?

Oh, and in some cases I actually do want to relink to the higher quality media. In this case it’s so I can ‘easily’ output a reel for one of the actors.

I can’t believe I’m on hour four of this. It can’t be this difficult, can it?

Avid Media Composer 8.4, FCP 7, cutting on an iMac Retina 5K, 27″ 4Ghz iCore i7 with 32GB of RAM

[Michael Thibault]

Just thought I’d update for anyone who has this problem and is scouring the web for help: I upgraded to Media Composer v8.4.0.37275 which seemed to resolve about 90% of the issues I was having. I can now import PNG and TIFF files with transparency into a 2K project. HOWEVER, every now and then I still get the assertion error and crash if I have a NewBlue Titler Pro clip in the timeline as well as a transparent media file clip (even the newly created ones).

I am on NewBlue Titler Pro v1 and have no idea if v2 solves this issue with 2K projects. I’m not going to spend $299 for a basic titling tool in higher than HD projects that, really, should be coming free with Media Composer. For now I popped $50 and bought Apple Motion and am getting very good, very quick results that import perfectly and don’t crash my system.

TL;DR Avid is still struggling to support 2K and above projects.

Avid Media Composer 8.4, FCP 7, cutting on an iMac Retina 5K, 27″ 4Ghz iCore i7 with 32GB of RAM

[Michael Thibault]

Actually, in Avid Media Composer 8.3.1 it won’t let you import graphic files for larger than HD projects. You get a popup that says to use AMA linking only. And once you’ve done that it won’t let you transcode to MXF format because of the transparency. Again, this is all on larger than HD projects like 2K.

I just upgraded to 8.4.0 and it seems to have ‘fixed’ that issue as I am suddenly now able to import PNG or TIFF files as graphics with transparency. I’ll update if overcutting the graphics makes my assertion errors go away.

Avid Media Composer 8.4, FCP 7, cutting on an iMac Retina 5K, 27″ 4Ghz iCore i7 with 32GB of RAM

[Michael Thibault]

Sorry, I wasn’t clear: I created the DNxHR HQX media from Resolve. I then placed them in a directory structure by Day|SD Card. After importing them by AMA into Avid I then transcoded them to DNxHR SQ which now exist in the Avid Mediafiles folder (and sub-folders). These are essentially the ‘proxies’ I’m cutting with. They allow me to work with a cleaner looking picture than a 1/4 or 1/16 rate proxy and I get a better sense of what I’m getting on blow ups.

Theoretically when I roundtrip back to Resolve I can tell the sequence to use ‘highest quality available media’ and it will relink to the DNxHR HQ files. Then relinking to the original 2.5K RAW files would be a snap in Resolve.

I did assign “Reel Number” (Reel # in Avid?) in Resolve when I generated the DNxHR HQX files, although they don’t transfer to the AMA bin in Media Composer.

It really sounds like it’s just less hassle all around to create a 1920×800 project and just 3D Warp the clips as necessary. FrameFlex has a lot of promise, but like most things Avid, is a little half baked. I really don’t need to find out I’m standing in a puddle of poo three months from now and having to rejig all my shots in Resolve.

Avid Media Composer 8.4, FCP 7, cutting on an iMac Retina 5K, 27″ 4Ghz iCore i7 with 32GB of RAM

[Michael Thibault]

Yes, I’ll render back out at full 2.5K resolution. The workflow is that the DNxHR HQX files are in the same directory structure as the camera RAW footage. So the footage should relink in Resolve to the high quality dailies without issue.

I am editing in 19020×1080 but I like the idea of cutting in an a 1920×800 or 1920×802 project. But this is where FrameFlex is more robust that the 3D Warp plugin–it’s a lot more pokey to recompose the frame in 3D Warp, especially if I’m plotting move. FrameFlex does shine in this respect.

But if I used your method, would that be safer when I bounce back to Resolve?

Thanks for al your help.

Avid Media Composer 8.4, FCP 7, cutting on an iMac Retina 5K, 27″ 4Ghz iCore i7 with 32GB of RAM

[Michael Thibault]

The source footage is 2.5K, 2400×1350 24p. I rendered the RAW footage to DNxHR HQX at the native dimensions. Brought that into Avid via AMA and transcoded down to DNxHR SQ. So I’m masking to 2.39 in a 1080P sequence so I can reposition/blow up the footage as desired.

I don’t want to bake in the FrameFlex masking, just be able to send it back to Resolve with all the moves and repositions carrying over, and then when I bring the color corrected material back it properly reformats.

One thing to mention is that I don’t apply the FrameFlex letter boxing until it’s in the sequence. So, not the AMA linked clips but the transcoded DNxHR SQ clips. I don’t know if this matters.

Avid Media Composer 8.4, FCP 7, cutting on an iMac Retina 5K, 27″ 4Ghz iCore i7 with 32GB of RAM

[Michael Thibault]

Jeez Ryan, that’s a GREAT recommendation! I downloaded the Lite version the other day and, after banging my head against the manual for a wee bit, got it to pump out an spot on accurate XML.

Again, thanks a LOT!