[Pat Horridge]

Good I’m glad it’s all moving across ok.
But you can’t compare cross platform with FCP-7 as you really could take FCP projects to a PC!
Granted Premiere is cross platform but it has none of the Avid media strengths so it’s linked media is robust. But nothing close to Avids media when it’s native and not AMA linked.
Also we are seeing tighter integration with AMA linked media and there is more of that coming so we can expect the AMA side to improve even more. Still early days for AMA but getting there and as a Post house we use AMA a LOT and played to it’s strengths is awesome. We regularly shave costs for clients by adapting their workflows to lever AMA and save time and costs.

Pat Horridge
Technical Director, Trainer, Avid Certified Instructor
Free online Tutorials at VET digital media academy online https://vimeo.com/channels/752951
VET
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[Pat Horridge]

You don’t want to work with AMA for long form work. It’s not robust enough, a lot of AMA linked fields will slow your system to a crawl and as you have discovered AMA linking doesn’t move well between systems and not at all between platforms (Mac PC).

If push came to shove there are ways to re-create the links in the moved project but I won’t list them here as it’s not an ideal solution and you do need to be across AMA workflows to do it right.

My advice would be to stop editing. Go back to the Mac and start the consolidate of the media to a new drive. You will then have to copy that media (not easy or advised to use Mac drives on a PC) to a PC drive and over to the PC system. You should be able to re-link the sequence you have already to the new media.

But you need to be working in Avid media for long form.

I’m also surprised you haven’t gone for DNX36 media and made life a lot easier.
You also need to be sure your offline workflow will work for your online. How is that happening?

Pat Horridge
Technical Director, Trainer, Avid Certified Instructor
Free online Tutorials at VET digital media academy online https://vimeo.com/channels/752951
VET
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[Pat Horridge]

I’d agree it’s better to keep the original masters.
AMA linking and re-consolidating if worst case the Avid media vanished isn’t that big a deal.
Its always possible an issue may come later that relates to an error in the consolidate and not having he original sources to refer back to would be an issue. And as said keeping NLE specific media is a short term solution only.
I don’t even consider 2 copies to be enough. The BBC require 3 copies and on 2 different mediums. So LTO backup is one sensible option.

Pat Horridge
Technical Director, Trainer, Avid Certified Instructor
Free online Tutorials at VET digital media academy online https://vimeo.com/channels/752951
VET
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[Pat Horridge]

If it looked right in premiere without a LUT then it premiere must be way off. It should look wrong without the LUT. It is wrong without the LUT applied.

Pat Horridge
Technical Director, Trainer, Avid Certified Instructor
Free online Tutorials at VET digital media academy online https://vimeo.com/channels/752951
VET
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[Pat Horridge]

Uhm I posted a long reply and it vanished so heres the shorter version..

With the LUT applied in camera the content is compressed in the dark and light areas (mainly the light) this give more dynamic range during shooting. If you look at the footage with no LUT on you system on a good grading monitor and external scopes as I did it looks sat up in the blacks and low peak whites (around75% max) and low saturation (washed out)
With the Log-s to rec709 LUT in (ie NOT bypassed) it looks more correct. peak whites up near 100% and a better contrast range plus more saturation (possibly too much) and some clipping in the whites.

You have 2 choices either make your transcoded media with the LUT and have the more contrasty look or transcode without and have the washed out look. No point the DP looking and making judgements shooting with Log-c only produces the look in the grade. Not the offline.
There is an option to transcode and not bake in the LUT so the transcoded media still has the option to remove or bypass the LUT but the media won’t playback as well as you effectively have a realtime effect applied.

I’m not quite sure the folks your end quite understand the impact using Log-C to shoot with has but this is it.

Pat Horridge
Technical Director, Trainer, Avid Certified Instructor
Free online Tutorials at VET digital media academy online https://vimeo.com/channels/752951
VET
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[Pat Horridge]

Got the smaple clip you sent.
It looks fine.
The source setting window identifies it as Arri Log-C and adds the log-c to rec709 transformation. on the RGB display levels look good.
If you click bypass transformations you see sat up blacks and lower whites but more detail in the sky and clouds as expected.
So with the transformation in place it looks more “normal”
Good to go I’d say.

Pat Horridge
Technical Director, Trainer, Avid Certified Instructor
Free online Tutorials at VET digital media academy online https://vimeo.com/channels/752951
VET
Production Editing Digital Media Design DVD
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[Pat Horridge]

That doesn’t sound correct. Looking at Log-c footage as REC709 with no LUT applied at your end should give you washed out de-saturated images. Blacks lifted whites low.

It sounds to me like the footage you have is actually REC709 but flagged as having a Log0C LUT applied. Applying the Log0C to REC709 LUT your end is expanding out what is a REC709 image already.

You need to resolve this ASAP as it’s likely something is wrong at the acquisition end.

If you have a way of uploading a small clip I can look and let you know what’s what.

Pat Horridge
Technical Director, Trainer, Avid Certified Instructor
Free online Tutorials at VET digital media academy online https://vimeo.com/channels/752951
VET
Production Editing Digital Media Design DVD
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[Pat Horridge]

The video won’t play for me just keep buffering.
But all I can add is that yes you can do exactly what you proposed.
You AMA link your footage. You set off background transcodes.
You start to cut with the AMA sources. When the transcodes are done you select the sequence and choose re-link. In the relink dialogue select at the bottom the Avid resolution you used to make the transcoded clips with and relink.
You will get a copy of the sequence (if you ticked that box) linked to the transcoded media and the original sequence still linked to the AMA sources.
If you need to you can still cut in AMA fresh sources and at the end of the session transcode the sequence choosing AMA only and any AMA clips will be transcoded direct in the timeline making .new master clips in the bin.
This is a very standard and robust workflow.

Pat Horridge
Technical Director, Trainer, Avid Certified Instructor
Free online Tutorials at VET digital media academy online https://vimeo.com/channels/752951
VET
Production Editing Digital Media Design DVD
T +44 (0)20 7505 4701 | F +44 (0)20 7505 4800 | E pat@vet.co.uk |
http://www.vet.co.uk | Lux Building 2-4 Hoxton Square London N1 6US

[Pat Horridge]

If the DP was supplying Transcoded files then baked in LUT makes sense. if it’s the source files then surely they mean a LUT has been applied and therefore the LUT needs to be used to ensure the Transcoded footage now looks “normal”

Pat Horridge
Technical Director, Trainer, Avid Certified Instructor
Free online Tutorials at VET digital media academy online https://vimeo.com/channels/752951
VET
Production Editing Digital Media Design DVD
T +44 (0)20 7505 4701 | F +44 (0)20 7505 4800 | E pat@vet.co.uk |
http://www.vet.co.uk | Lux Building 2-4 Hoxton Square London N1 6US

[Pat Horridge]

Yes you need the same LUT and apply it in the source settings for the AMA’d clips before you transcode.

Pat Horridge
Technical Director, Trainer, Avid Certified Instructor
Free online Tutorials at VET digital media academy online https://vimeo.com/channels/752951
VET
Production Editing Digital Media Design DVD
T +44 (0)20 7505 4701 | F +44 (0)20 7505 4800 | E pat@vet.co.uk |
http://www.vet.co.uk | Lux Building 2-4 Hoxton Square London N1 6US