[Mike Most]

I know I’m sounding a bit pedantic here, but if everything matched it would relink, so something doesn’t. You need to determine what that is.

MM

[Mike Most]

Do you see a reel name in the reel name column? Relinking is very simple, it just needs to match reel name and time code. That only works if you’ve enabled the “assist using reel names from” option. If you don’t see entries in the reel name column on the media page, and if those entries don’t match those of your proxy files, it will not relink. If they do, it will (assuming the time codes also match).

[Mike Most]

You haven’t said anything about your playback computer. What kind of storage? What kind of video card? If you don’t have a GPU equipped video card you’re going to have problems in Premiere Pro as well as just about any other program. HD Prores files shouldn’t require 1/2 res playback, any modern computer should be able to play them just fine, as long as you have a properly equipped machine. That said, you should check your settings in Premiere and make sure you’ve got the Mercury Engine enabled and working (it won’t be if you don’t have a GPU).

[Mike Most]

>>Can’t you just duplicate file name to reel name in your bins?

Not if you’re going to conform using the original camera files, which don’t have the unique ID.

Michael is right (as he almost always is). The dailies were done incorrectly (also a common occurrence). That needs to be addressed unless every shot has unique time code. If there is no duplicate time code (i.e., not shot over multiple days, not more than one camera) it should conform based solely on time code. But that is not the norm. The other question is what is in the CamRoll column. That might be usable as well, as in Avid you can select what is in the Reel column on an EDL when you make one using the List Tool (under “formatting).

[Mike Most]

The H.264 would be much better handled by almost any current Mac other than the Mac Pro. The laptops, iMacs, and new Mini all have built in acceleration for H.264 decoding that works very well. There is nothing you can do to the trashcan Mac Pro other than replace it with a better machine (i.e., find a 12 core rather than the 6 core). But even if you do that, you still won’t have either the H.264 acceleration or Thunderbolt 3 that you get with every other model they currently make.

[Mike Most]

If you aren’t already using Log3G10/Red Wide Gamut RGB (aka, IPP2) as your debayer settings, try switching to that. The chroma clipping issue is something we’ve encountered a number of times (particularly on the Helium cameras) when using the previous debayers, such as Dragoncolor. RWG was designed to eliminate that and generally does.

[Mike Most]

You need to render new media in Resolve, THEN generate the AAF. If you didn’t do things in that order, try doing that and see if it solves the problem.

[Mike Most]

>>Small example, our biggest newspaper does videos now

What’s a newspaper? 😉

[Mike Most]

It’s not binary choices. You can actually have proper craft and good material. You can have top quality images and a good story. You can have better approaches and simple ways to make it sing. All one has to do is want it.

[Mike Most]

While I can agree to disagree on the ultimate value of recording in log in certain cases, it is most certainly not a “hack.” It is a way of taking the enormous range of values in the real world and capturing it in an efficient manner. The real world exists as linear light, but your human vision system interprets that huge range of values by limiting the number of variations you can see in the brightest values and emphasizing the lower and midrange values that are more critical to interpreting the world you see. What that means is that the human vision system is logarithmic, just like the “hack” you’re talking about. When light is doubled – i.e., increased by one stop – your eyes and brain don’t see the result as being twice a bright. If one really wanted to record what a camera is actually seeing as absolutely as possible, one would always record in linear light (i.e., what the sensor actually sees). However, as with human vision, that isn’t practical or necessary. Log encoding is one way of approaching that problem, and applying a gamma curve is another. Log encoding has the very real advantage, though, of being much more efficient in its use of available values to better capture a wider range. In essence, the use of log encoding is no more of a hack than the human vision system is.