Latest post Sat, Sep 19 2015 12:24 PM by cuervo. 10 replies.
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  • Wed, Sep 9 2015 2:27 AM

    • Sims Carter
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    Workflow suggestions for feature shot with F55's in 4k?

    Of course, the final output will be 1920 x 1080.  Feature will be roughly 90 minutes.

    The film was shot mostly with F55's in 4k (and some RED in 4k), with the intent on using FrameFlex pretty often to adjust framing and punch in for coverage.

    There is also a large number of VFX shots throughout.

    I was considering transcoding all the footage to DNx36 for the edit and then relinking to the 4k footage for the online... but there is just too many hours of footage that would take weeks and weeks to trancode (I don't have the time in this schedule).

    Would it work if I copied all of the proxies to a single drive, AMA link to those and use that for the edit?  But then how would I use frame flex in the 4k when needed? Would I just then hook up the drives that link to the 4k footage and pull in that specific AMA for the 4k? Would the timeline then try to link to the 4k versus the proxies?  Thoughts?

    Any suggestions on the best way to tackle this project?

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  • Wed, Sep 9 2015 2:50 AM In reply to

    • gumbaedit
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    Re: Workflow suggestions for feature shot with F55's in 4k?

    Don't try to reinvent the wheel, you'll just get burned in the end.  Transcode the footage to 1080 at night and edit during the day.  You may think you don't have the time, but the amount of time you lose trying to edit the AMA linked material will drive you insane down the road.

     

    You don't neccesarily have to AMA and transcode, either.  You can use resolve to do your transcoding and then edit in MC.

     

    If you're intent on punching in on shots, live with the quality loss on the punch in from 1080 in the ofline, knowing that you'll be relinking to the 4K when you relink at the end of the edit.

     

    Seriously, don't be short sighted.  You have to live with this material for at least 2 to 3 months if you're giving yourself enough time for a proper edit.  Do you really want to be banging your head on the table the entire time, or do you just want it to work and not have to give it a second thought.

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  • Wed, Sep 9 2015 3:10 AM In reply to

    • Sims Carter
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    Re: Workflow suggestions for feature shot with F55's in 4k?

    Thanks for the advice.

    If I go the transcoding route, what is the smootest way to relink to the 4k for the online?  Would the process be copying the sequence to a new project/new drive with the 4k footage drives hooked up and just hitting "relink"?  Or is it more involved than that?

    And will the FrameFlex settings carry over to the online?

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  • Wed, Sep 9 2015 12:55 PM In reply to

    • gumbaedit
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    Re: Workflow suggestions for feature shot with F55's in 4k?

    AMA linking, transcoding and relinking is relatively easy to do, but it's kind of difficulkt and timely to write it down in one sitting.  But basically, when you relink the sequencce, Avid will create a new sequence from the old one but with the hi res media in it.

     

    Start here:

    Kevin McAuliffe has done a number of videos on Avid workflows.

    https://www.youtube.com/watch?v=pl7EN7hp2Qc

     

     

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  • Wed, Sep 9 2015 9:28 PM In reply to

    • Sims Carter
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    Re: Workflow suggestions for feature shot with F55's in 4k?

    Is there a way to import the F55 PROXIES as files to edit with versus linking to AMA?  (File>import wasn't working)

    Is it possible?

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  • Wed, Sep 9 2015 9:59 PM In reply to

    • smrpix
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    Re: Workflow suggestions for feature shot with F55's in 4k?

    Don't import.  Link and transcode.  If you import, in order to access any part of a shot at higher resolution you have to batch import the entire file.  If you link and transcode, you can simply relink to the necessary section original file.

  • Thu, Sep 10 2015 1:54 AM In reply to

    • Sims Carter
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    Re: Workflow suggestions for feature shot with F55's in 4k?

    Copy that.

    OK... So here is the proposed workflow:

    1. AMA link the RAW footage into the system. (We have about 44 hours of footage. We shot approx 60% in 2k and 40% in 4k.)

    2. TRANSCODE all footage to DNxHD175 & EDIT with that.

    3. Go ahead and FRAMEFLEX reframe/punch into shots as needed (Living with the quality loss in 1080, knowing that I’ll be relinking to the 4k in those specific shots)

    My question is....once cut is LOCKED:

    Should I relink the sequence to the RAW footage in Avid? (by dropping a dub of the sequence into the “ALL AMA FOOTAGE” bin (a bin of with all of the AMA footage in it), select everything and choose to Relink-->Relink to Selected clips (in the relink box). Relink all footage to the Raw files.)

    OR

    Should I relink it in the color correction software?  Should the DNxHS175 footage relink with to the RAW in most color correction software? Davinci? etc?

    AND WILL THE FRAMEFLEX DATA TRANSFER OVER OR WILL WE NEED TO REDO IT?

    Thanks in advance for your help.

     

     

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  • Thu, Sep 10 2015 8:06 AM In reply to

    • Mondo
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    Re: Workflow suggestions for feature shot with F55's in 4k?

    Sims, Frameflex data will stick going via AAF to Resolve. But I would check and see if there's  a Sony white paper on the F55 and Avid or just Google because there has to be a way of AMA linking to the proxies and then linking back to the 4K originals before sending to Resolve. After all DNxHD 35 is simply another form of proxy.

    Finally many people who actually use Resolve a lot advocate starting in Resolve and then going to Avid. Whatever you do test first on a small number of clips to make sure it works. 

    I can't give you specific advice on the F55 because it's not part of my workflow. 

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    John

    Can we go back to the way audio nodes used to be selected? Please? ie if you have audio nodes at the same time on selected tracks; then selecting 1 audio node selects them all at that time. Having to shift select nodes or add an in and out is time consuming and counter productive. At least make it an option.

  • Fri, Sep 18 2015 7:10 PM In reply to

    • Sims Carter
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    Re: Workflow suggestions for feature shot with F55's in 4k?

    I bit the bullet and transcoded all the RAW files to DNx175.  I'm syncing now & should be cutting shortly.

    Question: will the DNx175 files link back to the RAW files in Resolve (or Avid) with the ".new01" & the ".sync01" that Avid adds at the end of the filename after transcoding & syncing...

    ...or do I have to (gulp) go through all the files and delete those off the end of the filenames?

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  • Fri, Sep 18 2015 10:38 PM In reply to

    • DStone
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    Re: Workflow suggestions for feature shot with F55's in 4k?

    If you do have to rename a bunch of files, you can use an application to bulk rename. I use one, appropriately called "Bulk Rename" that I downloaded from http://www.bulkrenameutility.co.uk/Main_Intro.php. You really do want to read the help when trying to use it (here's a screenshot of the user interface). There are others that you can find on the web as well.


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    Dave S.

  • Sat, Sep 19 2015 12:24 PM In reply to

    • cuervo
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    Re: Workflow suggestions for feature shot with F55's in 4k?

    According to a tutorial from Kevin McAuliffe ( http://www.provideocoalition.com/media-composer-101-advanced-what-is-transcoding-part-3-2k-4k-uhd), (http://www.provideocoalition.com/media-composer-101-advanced-4k-workflows-part-3-davinci-resolve-roundtrippi) the best workflow is to open a project in HD and AMA link directly to the 4K material. Using frameflex, you can then pan and scan to the resolution of your choice. Once you transcode, the picture resolution is locked and zooming in will not preserve the resolution.

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