[Stuart Bruce]

I understand this, but the problem still stands.

1. AAF is not audio-only. It can be used to transfer picture edits as well as audio, for example exporting an AAF from Adobe Premiere which will then get imported by Avid Media Composer. It is an ‘enhanced EDL’ (but unfortunately it’s much harder to edit manually than an EDL).

2. Yes these are just edit references, but AFTER I’ve imported the AAF or EDL, I want to import the media from the original files into Media Composer so that it all lines up. This has been working for video clips but if I’ve got a still image on my timeline, re-importing the original media is problematic.

Hope this makes my issue a bit clearer – thanks

[Stuart Bruce]

I didn’t ask this question, but I found this answer when searching the Cow and it has been a life-saver for having to deliver under pressure. So thank you!

[Stuart Bruce]

As a very quick follow-up, it seems that with the DNxHD file we’ve got, using Compressor and going via an uncompressed intermediate file works, while using QuickTime Pro or pulling it straight into Final Cut was causing some bad colour shifts.

[Stuart Bruce]

Thanks for all the suggestions, much appreciated.

Ultimately our delivery is going to be on HDCAM, so it’s the HD-SDI signal (that our Panasonic monitor is showing) that will need to be right. Since that’s a hardware output, none of the ColorSync type monitor settings would make a difference- I think?

The root of the problem seems to be how Final Cut copes with the DNxHD, or rather how it doesn’t cope- as well as being very wrong in the colours, Final Cut crashes a lot when I try to get it to use the DNxHD file. I think we’re going to have to find an alternative workflow that doesn’t use DNxHD.

Thanks again

[Stuart Bruce]

The Avid is off-site. On-site we have the Final Cut system, and we have one Panasonic calibrated LCD monitor, sadly it’s not a CRT or grade 1.

I have ProRes and DNxHD clips of the same thing on the timeline. When I switch from a frame in one clip to the same frame in the other clip, there is a very visible difference between the two. The DNxHD version is brighter and ‘milky’.

I’ve tried exporting DNxHD from Final Cut and it has the same problem as the DNxHD sourced from the Avid.

So it’s looking to me, in this instance, that whatever DNxHD file I pull into Final Cut, it’s always looking milky?

[Stuart Bruce]

[gary adcock] “from your note trying to deliver 60i content from a true progressive data stream is not something the BMD card can handle.”

Yep, this seems the case. The key being ‘progressive’. The default timeline set-up had Fields set to ‘none’, and the card was doing a decent job of playing it back, but with green (incidentally that would be 25p as we’re in the UK). Now that I’ve spotted it and set it back to Upper Field dominance, all appears to be well again so far.

Thanks

Stuart

[Stuart Bruce]

I’m afraid I don’t have a solution and that this is a “me too!” post- I’ve started getting green flashes on playback.

However I’m working at 1080i using ProRes files generated using QuickTime Pro from image sequences, and outputting through a BlackMagic card. This suggests that it isn’t specifically a Kona issue or a Red issue or a 2k issue, as I’m not using any of those.

It wasn’t happening to me a couple of weeks ago, which means I have a couple of things I will check out to see if I can find out why it’s started happening now, and I’ll post if I get anywhere. In the meantime I’ll watch this thread with interest.

[Stuart Bruce]

This is what I needed to know, thanks.

Until recently we were using Velocity to edit, and it pretty much refused to assemble edit anything without timecode already laid on. In fact towards the end of the machine’s life it was refusing to do a lot of things…

Some years ago as an edit assistant I was told it was good practice to black all DigiBetas before any editing use. I’ve believed that for years since. Maybe they were just trying to keep me busy?! And since then one of the tasks I’ve given *my* assistant has been pre-striping DigiBetas!

[Stuart Bruce]

We’ve recently upgraded to an HD Final Cut system, and it would be great for us to be able to deliver on hard drives.

However of the four broadcasters we’re delivering to, three of them insist on HDCAM and one of them only wants DigiBeta.

So sadly we have to hire a HDCAM deck. Hard drive delivery would’ve been much cheaper for all involved.

[Stuart Bruce]

That’s a shame.

*Why* do you have to have one audio track?! (That’s a question for Apple, unless anyone else has an answer.)

It’s annoying because when I drag each little mini-sequence into my main timeline, it insists on bringing with it the empty audio tracks as well as the video track.

Thanks for your response.