Shane Ross
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Adobe marketing still touts the “No need to transcode” mantra…as does most of Adobe. Not sure they want to admit that there are many MANY reasons to work in an offline/online workflow. SO many people complain about responsiveness and stutter and it all boils down to using a normal system (not souped up, $14,000 rig) and 4K H.264 files, or AVCHD files native. A LOT of them.
Shane
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[Ryan Dundas] “For example, I am working on a multi camera reality show. I create 720p proxies at DNxHD 50 of all my media to ensure smooth playback with my multigroups.”
That’s a fairly high data rate format…why that over DV or 14:1? Guess you don’t have that much footage yet, or that much storage issue? Just curious.
[Ryan Dundas] “But it is a nightmare trying to relink back to my online media after edit. The only solution I have found for a reliable relink is to add a unique Tape Name to every clip in my project before transcoding the proxies. I have hundreds of files in my project so this takes hours.”
Well, it shouldn’t. Because you AMA link to the footage, highlight all the clips, add a TAPE ID, then transcode. Then repeat for the next import. This doesn’t take that much time at all. Adding maybe 15-20 seconds to the process for each AMA group. FCP Legacy was slick because it added this right away when you Log and Transferred the footage. I do really wish Avid would do that too. But it, nor PPro, nor Resolve nor FCX nor ANY OTHER NLE does this. You need to manually add a source after you link.
There is no easy way to do this if you didn’t set this up from the start. If you didn’t plan for this. Because all of the media is in one folder…full res, proxies…footage across projects. So either you get into the habit of changing the numbered folders name every time you transcode to offline, so that they all go into one folder, and then change it again…there’s no way to track it. I say get the Media Copy app. $99 is less than the time it’ll take you to do this once. VERY helpful app
Shane
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[Luke Sheldon] “I’m probably going to get the BenQ SW320 4K “
That is a computer display…not really good for VIDEO signals that’s meant for television. You’d be better off with an HDTV that you can calibrate. Sorry, I don’t have a model to give you, I don’t use one for that purpose. I should get one as a client TV though.
As for BMD device, you’ll need to look at the Thunderbolt options that have two HDMIs out. The UltraStudio 4K is the lowest end one that has that. Unless you forgo needing two TVs, then you can just get the UltraStudio Mini Monitor.
Shane
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[Grant Rammer] “Using a Blackmagic Optical Fiber card and recording the SDI input.”
What specific card? Plugged into a PCIe slot? Or via Thunderbolt? Capturing with what…the BMD capture software or FCP 7?
Shane
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Yes, that does point to a graphics card issue.
Shane
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[Robert Ti] “That’s a lot to do just to colour grade.”
That’s actually not that much, but this might be something you aren’t used to doing. When I color grade things from FCX, there’s a LOT of prep work in order to make things right. But, then again, we have a lot of temp archival that we replace with masters, and we still do a lot of prep to those masters to make them look good and work properly when sent to Resolve.
[Robert Ti] ” I removed the YouTube videos, was faster like that.”
if the youtube videos were the issue, you can always just convert those to ProRes.
Shane
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[Faris Hallaq] “the film has already been set into a sequence into a rough cut but they’ve used the proxy files to edit with instead of re-linking them.”
Sorry, I don’t understand. If the footage is too difficult to edit with full res, or raw, one would make Proxy files to edit with. So why wouldn’t they have a rough cut done using proxy files? Relinked to what?
[Faris Hallaq] “Now when I re-link them to the original media they seem to work but when I try to attach the proxy files, premiere doesn’t seem to give me that option”
You’ve lost me again. You now relinked to the originals, and are trying to attach the proxy files? What do you mean? What are you trying to do? You can either have the clips and sequence linked to the proxy’s, or the originals…not both at the same time. And you don’t want to relink to the originals until you are done editing.
[Faris Hallaq] “I know this is going to sound like the most backwards and old school work flow”
It is old school but it is not backwards. It is very typical to convert footage to a proxy low-res format for editing. This is still accepted as a current method…so much that Premiere made this a NEW feature…to not edit natively, but to be able to create proxy files so that on can have a smooth editing experience, as editing may Raw formats is simply impossible on some systems.
So the workflow is to bring in the Camera Masters…create proxy’s…edit with the proxy’s until locked…when locked, relink to the originals. DO NOT relink to the originals until editing is locked. Well, I take that back a little, you can relink to the originals when doing an export…if you created the Proxies in Adobe using their workflow, you can switch between proxy and original with one button click.
[Faris Hallaq] “is there a way round this that can work with out me having to re-edit the film, as you can tell this would be very time consuming for me as the deadline is very soon”
Is picture locked? And you are ready to output? if so, what’s the issue? You are linked to the originals, so you said.
Sorry, I’m lost on the issue here
Shane
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How about this…OPTIMIZE the footage in FCX…convert it to ProRes. Choose a single folder in an easy to locate spot for that. Then, with all the media optimize, Import that media into Resolve, into the Media Pool, and then import the XML.
Shane
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I’m going to guess that the file you received and imported is an H.264 codec file. And that you just imported that without converting it to ProRes first. FCP 7 does not work well with H.264, one of the bi issues it has is sync when editing or when exporting.
You need to convert the file to ProRes 422 first, then import.
Shane
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Hey, do you mind if I give you a quick call to tell you when to watch my show? And then a call when it’s on to see if you are liking it…and then a follow up call to see if you enjoyed it…and to make sure you mark it in your little diary? I won’t be too much trouble.
Why do they still do this? I mean, the cable companies can track what channels are being watched at all times on their boxes. They know. And doesn’t Neilson (which has a floor in the building I work in, BTW, so if you need some kneecaps broken, let me know) only have like 1000 people on the diary at any time? I’m sure that there are many times that those 1000 people aren’t watching many of the shows on TV, nor any of the couple hundred TV networks. So how do they calculate the ratings when THAT happens?
I’ll ask when I am busting kneecaps.
Shane
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