Latest post Fri, Jul 20 2018 2:06 PM by Dennis . 2 replies.
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  • Wed, Jul 18 2018 5:08 PM

    • Dennis
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    • Joined on Mon, Jul 6 2009
    • Posts 76
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    • Avid Certified Instructors - Video
      Avid Certified User

    Re-link to raw red files

    I am working with Red 8 K Helium footage.  MXF proxies were created by the Helium and placed in the Avid MediaFiles folder.  Master clips were placed in a bin.  Clips were auto synced.   Raw Red was linked into a bin for later relinking for color grading.  Project was edited, 

    For raw red clips that have no proxies I linked and transcoded. (8K takes forever.  Best to create them in the camera.)

    I cannot import raw red. It must be linked and transcoded.  I cannot re-import a master clip because raw red cannot be imported. 

    Finished editing the project and tried to re-link to camera raw files for grading.  Took the Avid MediaFiles folder offline and in the bin with the proxies and raw red linked files I relinked to the raw red.   Most files relinked but several refused to relink.  Very frustrating.  

    Went back to an earlier version of the project and checked on the offending clips.  All the meta date is correct.  Replaced the offending clips with raw red camera originals.  Relinked scene 1 bin and bingo everything relinked to the camera original.  Relinked scene 2 bin and nothing would relink but some pickup shots from day 3 of shooting.  Went to the attic and opened an earlier version of the bin that was already relinked.  Bingo everything immeditetly went online.  The newer bin still refused to relink. 

    Wondering why linking is so spotty.  Very time consuming. 

    Does anyone know why some clips refuse to relink while others relink the way they are suppose to?  Or why a bin that had files that would link, suddenly would not link?   

    Mac Pro Tower 5,1  dual monitor, dual 3.33 processors, 64 gig ram,  580 video card, ssd drive  Camera files are on external ssd drive. 

    Media Composer 2018.7 (not very stable. Going back to 2018.4)

    MacBook Pro Retina 16 gig ram, Mac Pro 12 core, 16 gig Ram. [view my complete system specs]
  • Thu, Jul 19 2018 10:10 AM In reply to

    • Bruno M
    • Top 200 Contributor
    • Joined on Thu, Feb 11 2010
    • London, UK
    • Posts 551
    • Points 7,035

    Re: Re-link to raw red files

    Re-linking in Avid has turned into a bit of a black art, with users finding their own combination of settings that seem to work SOME of the time.

    I teach MC to MA students and have had to find strategies that work with some of the scenarios that come up in their respective projects. I've successfully re-linked to Red RAW files (from timelines that used Avid transcoded proxy files) and one of the biggest issues I've found with re-linking is where a source has no timecode. So, where the RedRAW clips had proper TC, there was no problem - otherwise I couldn't successfully re-link, no matter what I tried.

    The method I use is slightly different to some other ways I've seen re-linked workflows, but you might find it works in your situation. the steps are as follows...

    Close all bins except for the ones that have your sequence and the original, linked Red files.

    Highlight the sequence and all the clips you want to relink to.

    Right click on the sequence and select Re-link

    At the top of the Re-link menu, click on 'Selected Items in all Open BIns'

    In the 'Re-link by' section, select 'Tape Name or Source File Name'.

    Hit Re-link

    I've found this method works well with Red material, as long as the source file names are the same AND you have timecode on your rushes. It also has the benefit that you don't need to take the proxy media offline first.

    If you have to re-link to rushes that for some reason have changed their source file names this method may not work. I had this situation when TK'ed rushes (edited into a sequence) were re-timed by labs and were sent back with new source-file metadata. In this case I had to add matching Tape numbers to the original and re-timed rushes, which then re-linked successfully.

    HP Z800, HP G3 Studio, SonnetFusion RAID, Mojo DX, Symphony 2018.9, JVC DTV1910 HD tube monitor, HP Dreamcolor, Avid Artist Color [view my complete system specs]
  • Fri, Jul 20 2018 2:06 PM In reply to

    • Dennis
    • Not Ranked
    • Joined on Mon, Jul 6 2009
    • Posts 76
    • Points 840
    • Avid Certified Instructors - Video
      Avid Certified User

    Re: Re-link to raw red files

    I found the relink problem.   I examined the file structure of the raw files found that the DIT added scene and take numbers to the Red files structure.  As soon as I restored the correct folder names rinkling worked perfectly.   


    FOR DIT's and Assistant Editors:   HERE IS THE RED MXF proxy workflow:

    If the camera is set up to create MXF proxies,  it will place them in the same folder as the Raw Red files.  No aaf file is needed.  

    1. Install the latest Red AMA plug in.

    2. Transfer the Red files from camera card to archive drive..  (Insurance requires 3 back up drives)  


    3. Option Drag the root Red folder into a bin.  Both the mxf and the camera raw files will link. 

    4. Consolidate the mxf files to the editing drive using the "Relink native Master clips to media on the target drive."

    5. Place the archieve drive in the vault where it can be easilty accessed. 

    6. Edit the show.

    7. Mount the archieve drive. 

    8. Take the edit drive offline

    9. relink offline master clips using "Relink to: Any video format" 

    10. The timeline is now online. . Either do your grade in Media Composer or flatten the timeline, create an aaf and open the aaf in Resolve, Assimlate Scratch or Baselight. (Baselight has a wonderful plug in that allows grading right in Media Composer) 

    It is interesting that version 2018.7 was crashing a lot while I was trying to solve the relink issue.  As soon as the folders correct names were restored, the crashing stopped.  Avid demands correct naming conventions.  

    One item I will be looking into on our next shoot for this project is the lut.   The DP put a lut on the project.  The lut did not make it to the mxf file.  We are going look at the menus to make the lut is added to the mxf file so the "look" matches.  Without the lut on the mxf I had to do apply a quick correction to each clip.  All the corrections had to be taken off before the relink.  Otherwise the timeline will have a horrible look till the color correction is taken off.  

    MacBook Pro Retina 16 gig ram, Mac Pro 12 core, 16 gig Ram. [view my complete system specs]
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