[Pat Horridge]

This is a solid workflow in MC when you know the right steps.
One trick is to move the proxy avid media offline during the relink.

Pat Horridge
Broadcast & Post Consultant, Trainer, Avid Certified Instructor
Free online Tutorials at VET digital media academy online https://vimeo.com/channels/752951
pat@vet.co.uk

[Pat Horridge]

The specs supplied are technically incorrect. PAL is a composite analogue delivery.
They are asking for a custom raster size as listed. The content has to look correct at that raster size as shown at 25fps. Any reference to PAL is misleading and inappropriate.

Pat Horridge
Broadcast & Post Consultant, Trainer, Avid Certified Instructor
Free online Tutorials at VET digital media academy online https://vimeo.com/channels/752951
pat@vet.co.uk

[Pat Horridge]

You don’t have to update when app mangers shows an update available. As always a wise editors checks what’s new and what’s broken and keeps an ear on the early adopters.
I read if Creative cloud users equally moaning of updates causing issues.

Pat Horridge
Broadcast & Post Consultant, Trainer, Avid Certified Instructor
Free online Tutorials at VET digital media academy online https://vimeo.com/channels/752951
pat@vet.co.uk

[Pat Horridge]

That’s not how Avid AMA workflows work. We don’t relink master clips. We relink tge final sequence.
Plenty of posts of the correct workflows.
But the key here is to test and ensure the workflow works with some sample media before starting tge main edit.
In brief (find a detailed guide online) AMA tge equipped hi res sources to a new bin. Then relink the sequence using the to selected open bins option.

Pat Horridge
Broadcast & Post Consultant, Trainer, Avid Certified Instructor
Free online Tutorials at VET digital media academy online https://vimeo.com/channels/752951
pat@vet.co.uk

[Pat Horridge]

I have a perpetual license and prefer the yearly service fee and upgrades during that year. And as said if I decide to stop that I can continue to run that version for ever (well as long as I have hardware and an OS that are supported)
But tge real gain for me is I have a hardware done with Symphony under that perpetual license I can take that to any Avid and gain Symphony option.

Pat Horridge
Broadcast & Post Consultant, Trainer, Avid Certified Instructor
Free online Tutorials at VET digital media academy online https://vimeo.com/channels/752951
pat@vet.co.uk

[Pat Horridge]

Locate the project named folder in the attic.
The attic doesn’t store projects only a folder named for each project.
In that project named attic folder there is a bins folder and tgen a folder for each bin that has an attic saved for it.
Based on saved settings each bin folder saves a set number of copies. Each saves increases the suffix number and the lowest number when the save number is reached is deleted.
Locate the highest number (or an earlier one I’d required). Copy to the desktop.
Rename the file by adding .avb to the end leave the number as an indication it’s a recovered bin.
Copy it to the actual project folder and open MC.
That bin and the original can’t be open at the same time. If you need to have both open make a new bin and copy the recovered bins contents to that new bin then delete the recovered bin.
And remember that attic was one save back from the last saved bin.

Pat Horridge
Broadcast & Post Consultant, Trainer, Avid Certified Instructor
Free online Tutorials at VET digital media academy online https://vimeo.com/channels/752951
pat@vet.co.uk

[Pat Horridge]

Don’t change the project to 4K keep it 1080.
Use frame flex on tge new shots to cope with any aspect changes.
Are they true 4K or UHD? That’s important.
Send an AAF to resolve rather than an EDL.
Doesn’t sound like you have a tested workflow on place.

Pat Horridge
Broadcast & Post Consultant, Trainer, Avid Certified Instructor
Free online Tutorials at VET digital media academy online https://vimeo.com/channels/752951
pat@vet.co.uk

[Pat Horridge]

It’s always been that way. It’s expected that the first import of a job (or set up by edit assist) you chose resolution drive etc. Then all the rest are done the same.
Import isn’t used much now as we have AMA link.
Import is a legacy ingest method so it’s not evloved.

Pat Horridge
Broadcast & Post Consultant, Trainer, Avid Certified Instructor
Free online Tutorials at VET digital media academy online https://vimeo.com/channels/752951
pat@vet.co.uk

[Pat Horridge]

Easy. Use show reference clips from the bin display or match frame from the seq to get the source clip.
Set frame flex and LUT.
Then use refresh seq and choose the appropriate options to update.

Pat Horridge
Broadcast & Post Consultant, Trainer, Avid Certified Instructor
Free online Tutorials at VET digital media academy online https://vimeo.com/channels/752951
pat@vet.co.uk

[Pat Horridge]

As Shane says this is an error on the editors part. Incorrect ingest method.
I’d do the conform in the Avid and then export out that finishing media and AAF to resolve.
If you are having to cut 5D to natch red footage you will end up degrading the red content as you can’t improve th 5D so access the R3D raw won’t really be an issue.

Pat Horridge
Broadcast & Post Consultant, Trainer, Avid Certified Instructor
Free online Tutorials at VET digital media academy online https://vimeo.com/channels/752951
pat@vet.co.uk