Richard Sanchez
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It’s not qualified on Snow Leopard. You should upgrade to 10.7.2
Richard Sanchez
Los Angeles, CA“We are the facilitators of our own creative evolution.” – Bill Hicks
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You don’t need to necessarily keep the AMA clips stored. If you lose those clips at any point, all you need to do is relink those AMA clips, whether individually or mounting an AMA volume, and again, modify those AMA clips to include the tape names, and you’re good to go.
Richard Sanchez
Los Angeles, CA“We are the facilitators of our own creative evolution.” – Bill Hicks
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I separate all the 5D footage, because the process of relinking 5D and transcoding is so different fro tape based footage that you’d want to decompose and batch capture. It would make the process easier to edit 5D on a separate layer from the get go, but as an AE I never get timelines that are separated for the conforming process so I generally split out the timeline after the fact. Also, if you have 5D at varying frame rates, you’d need to separate all frame rates since those will have to be relinked in a project of their own respective frame rate. The file names of 5D tend to be very distinctive, they’re not hard to identify. It’s basically the same process as splitting audio for mix.
Richard Sanchez
Los Angeles, CA“We are the facilitators of our own creative evolution.” – Bill Hicks
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How are you attempting to relink the 5D? Are you decomposing and trying to relink to the master clips? That won’t work. The way I do it is, is I’ll separate all my 5D from tape based material and move it all onto one track. I’ll sub sequence that track out so that I now have one timeline with only 5D based material.
Move that sub sequence into it’s own bin, and use the “Set Bin View” option to show all reference clips, and open the bin column for “Source File”. Granted, the 5D file structure tends to make all clips MVI_001 and such, but this will give you a list of source files you need.
Take the drive with your low res media offline.
Then, AMA the source files. In the bin with all the AMA clips, highlight them all. In the bin with the subsequence, highlight it. Right click the sequence and select “Relink” In the top half of the relink box, select the second option which is “Selected itms in ALL open bins”. Just below that, make sure the enable the box that says, “Allow relinking of imported/AMA clips by Source File name”. I generally uncheck “Match case when comparing tape and source file names” and I also uncheck “create new sequence”. Your 5D clips should be relinked.
Here’s were it gets tricky, if your files aren’t uniquely named, it might cause problems. If you have multiple 5D cameras, and therefore potentially have various files called MVI_001, that will confuse the Avid. I have two suggestions to take care of that, but they have to be done before you originally AMA your clips and transcode for offline. I use QTChange (which is available at videotoolshed.com) to add the timecode data from the THM file. This will embed the timecode into the quicktime. If your data wrangler didn’t include the THM, you’re out of luck here, however, my suggestion might still help. Once I’ve added the timecode data to the quicktime files, I rename them to something unique. For example, if I’ve designated the 5D as C cam I might rename the file MVI_001_C01_051712. You can use the free mac application “NameChanger” to quickly change names.
This will get your AMA clips relinked to the sequence. Right click the sequence and select “Consolidate/Transcode” and transcode to your finishing resolution.
Whenever possible however, I try to lay my 5D back to tape. On my current show, I take all 5D footage and lay it back to XDCAM discs and then create my offline media from those XDCAM disks. It made our workflow very smooth. Here is a link to my XDCAM workflow that might be helpful for you.
https://f1.creativecow.net/3954/xdcam-ama-workflow-guide
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I’ve experienced this quite a bit with XDCAM HD. In going from offline 8:1m to DNxHD, we noticed certain clips coming in offset. The strange thing was, the pattern by which the clips came in offset was inconsistent, but when the clips were offsets, they were fairly consistently offset by 12 frames. Sometimes 12 frames forward, sometimes 12 frames backward. Ultimately our solution was a very meticulous shot check against an offline video mixdown when going from offline to online.
Richard Sanchez
Los Angeles, CA“We are the facilitators of our own creative evolution.” – Bill Hicks
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3954_rjsworkflowguide022012.pdf.zip
I included a disclaimer to explain the circumstances of our show / workflow. It’s been a big work in progress, but this iteration has been solid from ingest to online thus far. Hope it helps!
Richard Sanchez
Los Angeles, CA“We are the facilitators of our own creative evolution.” – Bill Hicks
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I would AMA link, transcode to offline and then relink back. I’m sending you copy of my XDCAM workflow guide via Facebook (I figured better than post your e-mail address on a public forum). Hope it helps.
Richard Sanchez
Los Angeles, CA“We are the facilitators of our own creative evolution.” – Bill Hicks
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You can export your Alpha only from After Effects and have it brought into Media Composer. Within Media Composer, they can use that grayscale image as a luma key. Keep in mind, with chroma keyers like Keylight that has built in spill suppression, that won’t carry over, but like you mentioned, if this only to be used as previews, you should be fine.
Richard Sanchez
Los Angeles, CA“We are the facilitators of our own creative evolution.” – Bill Hicks
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It’s because you have linked selection enabled. This will select associated audio with video when in segment. Something they stole from Final Cut. You can turn it off. The icon to do this is located just above the smart tool.
Richard Sanchez
Los Angeles, CA“We are the facilitators of our own creative evolution.” – Bill Hicks
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Exactly. But since you can’t insert filler at the end, like you can at the beginning, you can use this as a work around to create black slug, and throw it at the end.
Richard Sanchez
Los Angeles, CA“We are the facilitators of our own creative evolution.” – Bill Hicks