We've just finished picture editing our latest feature documentary on MC 8.5.2. We shot on Canon C100, some Canon 5D B-roll material and a few iPhone 6 shots and imported the media (rather than using AMA) into a PC workstation at DNXHD 115. Now it's time to export the show to send out for color timing & finishing. Exhibition is theatrical/festival then broadcast. I'm wondering if someone might be able to describe the latest workflow that will get our project output at the best possible quality. Many thanks.
chawilk:Now it's time to export the show to send out for color timing & finishing.
Yes. The color correction will be done in a Resolve system then output to a DCP for theatrical/festivals & to a file for broadcast. Thanks for the assistance.
I do not mean to be rude, but since this has already been covered many times before, please search the forums for Avid Resolve roundtrip or similiar. Basically You have to export an AAF to Resolve, and import back into MC if You want to output the delivery masters from there.
Thanks for the tip. It's worth mentioning that those of us who are filmmakers rather than dedicated editors don't work hands on with the full fange of Avid tools much more often than once a year or so, and Avid does update & change procedures from time to time. These forums have been really helpful & it's great how people volunteer their advice. Often in a case like this they'll even go so far as to post a helpful link to the right thread. No matter, I'm sure we'll muddle through. Cheers.
Here is a forum search, You'll have to do some reading matching Your version of MC and resolve, or Resolve's only at best. http://community.avid.com/search/SearchResults.aspx?q=resolve+roundtrip&o=DateAscending If You take the time to google You'll find other tutorials.
Hey thanks. I spent tons of time searching Google for the right tutorial before coming to the forums. Most common round trip describes an AAF from an AMA timeline and going to a Resolve within the same network. I'm not using AMA, I need to output camera file quality rather than the DNxHD 115 reduced quality I've edited with and I'm taking the files to an outside post house. But I'll keep searching the forums for someone with the same scenario as mine. Cheers.
On the off chance there’s anyone out there who has made the
same mistakes we have I’ll relate the workflow that successfully got our show
out in top quality.
We shot the feature film on Canon C100 (AVCHD) and 5D Mk II,
with a bit of Gopro & iPhone 6 thrown in. Goal is to get the edited show out to the lab in best quality for finishing then DCP for cinema and Prores for broadcast.
Imported media in DNxHD 115 (on advice from working Avid
feature editors– and the workflow that’s served us well on our last 3 features). The idea being at the end of the line we
could auto-conform to re-import the actual original footage used in the
timeline. However… when we went to auto
conform, we couldn’t find the same options in MC 8.5.2 that allowed us to do
this on all the previous shows. But
maybe that’s just my unfamiliarity – I don’t edit (and output) more than one
feature every year.
I scanned the Youtube tutorials, the forum boards – some
helpful notes but no solution. Closest I
got was discussions about working w AMA and using an AAF to export the project
into Resolve – housed on the same system.
No one seemed to be doing what we do – cut the movie using media at
relatively low res, then auto conform it up to 175 at the end to take it
outside for finishing.
I spent 3 hours on the phone with Avid help. Super nice & helpful. They came up with an AMA work around that did
the trick for short chunks of 5 minutes or less. But it froze & crashed on even a 15 minute
Finally, the workflow I figured meant re-importing each
& every shot, then re-editing them into the timeline. Fortunately batch re-capture and frame match
make this less ridiculous than it sounds.
The workflow went;
then divide the 75 minute show into 4 pieces
- Create a
separate bin for each.
- On segment 1
tap the hamburger menu (bottom left of bin), scroll down to “set bin display” > check the last box “show
- This reveals
all the shots in the sequence.
- Select all >
right click > batch re-import > all clips
- Set the
quality (eg DNxHD 175) > enter
- The shots begin re-importing, but
now they’re in my original camera quality rather than their low rez format I
edited in. This obviously takes a while
on a long project – and it sucks you’re importing the entire shots rather than
just what was used. It’s worth right
clicking on the shots in the bin and selecting “get info” to confirm they’re
now in the desired resolution.
- I also had a handful of shots that
would not batch re-import. I set those
- I loaded the 1st ¼
show timeline, went to the first shot, marked tail & head (in that order),
then in the command pallet touched ‘frame find’. This loads the newly imported hi-res shot
into the left monitor at the exact 1st frame.
- I would then overwrite edit the
shot in & move on to the next.
- The missing shots that didn’t
batch import had to be hunted down using ‘get info’ for each shot, then
manually re-imported & match frame editing in – which is time consuming.
- In the end I assembled the 4
quarters into a completed timeline, then exported at ‘Same as Source’ and
delivered it to the lab in the best possible quality.
All in all for this 75 minute feature with 700 shots the
process took about a day and a half – and was kind of fun in a weird way. But it would have been nice if we could have
found a bit more assistance, or failing that, if we could have done it properly
from the beginning.
That’s my advice to myself for next time – always set up a
trial workflow at the start of a project to make certain there are no surprises
at the end. Better yet, we’ll hire a
seasoned, up to date Avid assistant editor at the start of the next project to
get us set up in using best industry standard practices.
But for the moment, all in all the show looks great. Happy day.
In future I would be tempted to use Resolve instead of AMA or importing into MC. Open and setup a Resolve Project. Bring each media card into Resolve's Media Pool. Move that media into a bin and name the bin appropriately, Make a new timeline for each Card. Deliver each timeline from Resolve using the "Round trip to Avid" template and choose Avid DNx resolution you want for low res edit. Set the media destination to a numbered folder inside the Avid MediaFiles\MXF\ folder.Open MC and watch it index your media folder.Make a new bin with the same name as the Resolve bin for this media.Drag the small Resolve created .aaf file from your numbered folder into this new bin. MC will populate the bin with all your proxy footage.The AAF can be used as a source footage string out for that card timeline.
When you have picture lock you can export an AAF (without media)Open the AAF in your Resolve Project and Resolve will open a timeline that is relinked to the original camera media.
This Link should help you avoid any wrong settings. This one may also help.
Your off-chance search for someone with the same workflow has found the right guy. Email me: email@example.com and I'll give you my cell phone number. (I'm EST timezone in New York)
In a nutshell:
- You are far from alone in dealing with Avid's awful relink process
- The process does work, you just need to setup things differently on the front-end and throughout
- I've kept everything inside Media Composer for many feature-length projects
Editors are superheroes, cutting life together in a world that cuts itself apart.
Chris Bove' (Pixel Monkey)
Twitter: Follow @heybove
Blog for Craft Editors
Thanks for this. Interesting. I can see I'll need to put a lot of thought, research and planning into setting up the next project. On the face of it it would seem to be a fairly straightforward challenge - asking a piece of software designed to edit movies to efficiently manage 8 - 10 T of data so one can edit it, then export it for outside colour/sound completion - all in a reasonably stable, reliable fashion. I'm clearly missing something, but the pressure's off now. The show is successfully exported, looks and sounds great, happy end. Thanks.
Thanks Chris, will do.
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