Shane Ross
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Note: If you look at the cost of 4K Broadcast monitors, you are looking at a $35,000 investment. Not cheap. Which is why most of us still grade 4K downscaled to 1080p on 1080p broadcast monitors…the color space won’t change. And if you need to see all the pixels to make sure there’s nothing wrong there, get a 4K TV and have that as a second client monitor.
Shane
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[Christie Allanson] “I don’t have that option…”
It could be because this post is from 11 years ago, so talks about Final Cut Pro 6…and you are running FCP-X. Best to look for an answer, or ask a question, on this forum:
https://forums.creativecow.net/fcpx
Shane
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HA! VINDICATED! Glad you figured it out.
Shane
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[Lena Gregorian] “When all the groups were on the timeline ive erased the unnecessary audio tracks.”
How? Just did a LIFT of them from the sequence? They are still in the group, right? So if you dumped ALL the tracks in the group in the sequence, that audio would be there, correct?
[Lena Gregorian] “s it possible that by erasing audio tracks on a timeline of one sequence, all the audio mix in other sequences is erased as well?”
ONly if you deleted the audio…meaning deleted the audio from the bin. If you just did a LIFT of that audio from the sequence, no, it wouldn’t do this.
[Lena Gregorian] “If so isn’t it major bug? Seriously why have timelines connected like that between seq”
I’ve never heard of this one…timelines aren’t connected like that. But if you did delete the audio from the bin, rather than just lifting the audio from the track in the sequence, that could cause this. How EXACTLY did you delete the audio?
Shane
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[Simon Bienert] “the editors need an export in DNxHD MXF OP-Atom for postproduction in Avid and I am working in Premiere Pro.”
OK, first question…why are you working in premiere when the production is working in Avid? Were there meetings discussing workflow? Anyone mention this fact when you were hired? I do know that there are companies that will start projects with very little communication to people hired, so they might just expect that one app was being used when the hired person expected another. ALWAYS ask what NLE will be used when you are hired as a DIT. That’s pretty much the first question, and primary focus of a DIT…to provide the editors with media that they will use to edit on their NLE…and then knowing the online workflow. Those are the basics of that position…and nothing should have happened until all of that information was known to all parties. I don’t mean to scold you specifically, because it’s the job of everyone involved in post. But yeah, if this isn’t mentioned by them, it’s on your shoulders to ask them what they need, what they will be editing with and how they will be onlining. Because everything YOU do is the start of that path.
[Simon Bienert] “To export in that format I tried the DaVinci Resolve workflow:
In Premiere Export synched sequences to XML -> import in DaVinci -> export individual files to DNxHD MXF OP-Atom”OK…but then how is the show being onlined? Will this transfer enough metadata to allow the online editor to relink to the camera masters?
[Simon Bienert] “The problem with this workflow is that the exported files do not have the synched audio files with them. This only works if the files are synched in DaVinci and it does not work in imported sequences.”
Correct. This is why syncing is typically done either in Resolve, if IT is used to provide dailies, and will be the online tool…or inside the edit system of choice. Or in software than can provide the dailies directly to the editor and the NLE they are using. I’m not sure even if Resolve would maintain the audio metadata needed if the audio house wants to conform the audio to the audio masters…which is why all syncing on stuff I work on, is done in the NLE, after dailies are made.
At my work we use software called CONTENT AGENT to transcode all of our dailies…and we have an established workflow from start to finish to know what works and what we need to do…that’s something you need to talk about now.
[Simon Bienert] “What would be the best workflow to get my files to DNxHD MXF OP-Atom.”
#1 – Find out what they will be onlining with…now that you know what the offline will be done with. Then coordinate based on that information, how you will sync. Will it be done in Resolve? Or in Avid? What works best? Either way, you will have to start over…sorry.
Shane
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Well, Alpha Dogs post has a job email blast…someone comes to them looking for editors or onliners or assistants and they send out an email to their list of freelancers…and one of them about 3 weeks ago was looking for a few editors to cut on Resolve…and in a shared environment. Something never really attempted…editing, AND Shared…so it was new ground. And there were a lot of people who use Resolve to ONLINE…but to edit? It’s new at that…but growing. I’m using the editing capablities more and more as I find myself addressing notes after picture lock. But I haven’t dived into it as an editor yet. I know a few who have, as it’s free. But not sure it’s been used on paid broadcast work yet.
But…a friend of mine ran into someone at LACPUG who was looking for a Resolve editor, and gave my name to them. Haven’t heard from them yet, but right there are two examples of how this is creeeeeeeeeping into my market at least. I might have to approach it like I did FCP 2/3…cut a few personal things with it first to get the hang of it.
Shane
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Do you know which was which? Because IMPORTED footage will have to be batch imported, and linked and transcoded will need to be relinked to the masters and re-transcoded to a higher res. Two ways of doing things.
Shane
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What version of Avid are you running? Did you install the RED AMA plugins?
Shane
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How was it brought in? Imported, or LINKED and transcoded?
Shane
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As far as I know, snapping only works on the head of the clip you are moving, not the tail.
Shane
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