......RECENTLY, I USED SHUTTER ENCODER (A FREE APP ON MAC AND WINDOWS) TO IMPORT SOME FILES USING THE ENCODER SUGGESTED AVID WORKFLOW. 

CONVERT THE FILES DIRECTLY INTO DNXHD MXF FILES AND PUT THEM IN AN AVID MEDIAFILES FOLDER MC CAN SEE ( YOU KNOW...LIKE D:\Avid MediaFiles\MXF\1).

MC THEN SCANS THE FILES ON LAUNCH AND CREATES AN MDB FILE IN THE FOLDER.....JUST DRAG THAT MDB FILE INTO AN AVID BIN AND YOU HAVE IMPORTED YOUR FILES.

MC IS NEEDED ONLY AT THE END, SO YOU CAN WORK ON OTHER THINGS WHILE SHUTTER ENCODER DOES ITS CONVERSIONS.

Yes, I have used this technigue and it works well. The downside is that it does not process the audio in a clip at the same time.

I have asked Paul Pacifico about this and there are no plans to add the function.

Perhaps if others pestered him as well?

As I keep telling assistant editors Robert, CAPS are more difficult to read.... ;)

 

 

THANK YOU FOR THAT UPDATE.

i DID NOT CHECK THE AUDIO PART SO THIS WOULD ONLY BE A TECHNIQUE FOR BRINGING IN GRAPHICS, ETC.

REALLY?......I like all caps

Shutter Encoder is now my go to app after new graphics are brought in.   

Converting the files to QT Animation codec makes the files universal for MC and Titler Pro while keeping Alpha channels.

MC can handle just about any alpha file but Titler Pro is hit or miss.  Converting to QT Animation before anything else is done makes this problem go away.

One nice feature of Shutter Encoder is the ability to make multiple versions of the files.  For example, it can make MXF files for MC and make QT animation versions for the archive and for Titler Pro.   These settings can be saved as presets. 

I love Shutter.  It's one of the "freeware" apps I actually contrbute $ to. 

 

But I've found it's direct to OP-atom function nearly useless as a practical matter.  It does not retain the metadata that allows you to relink to the original files in case of disaster.

 

Avid background queue has all the same advantages you claim for Shutter plus it's replicable.

Even DaVinci Resolve does a better job at retaining important information.

...I love this forum.....people respond and we all learn.

I was not aware of the AVID background queue....checking it out now....

ah hah......so its as simple as transcode in the background...nice...thank you for that.

..No luck setting up a watch folder....nothing happens....but transcoding in the background works by right clicking files.....

....FRESH INSTALL OF WINDOWS 10 PRO (IT WAS HOME VERSION BEFORE) AND A FRESH MC INSTALL..

...NO CHANGE....ERROR MESSAGES TRYING TO TRANSCODE MP4 AND MOV FILE USING THE DYNAMIC FOLDERS....

Don't use the dynamic folders. 

Link he files into a bin and then use the background transcode function.

The dynamic folders were a great idea but after being introduced (and having a range of issues) they have never been re-visited and those issues still exist. They can and do work for some specific workflows but for many they fail.

 

Thank you, sir.

smrpix:

I love Shutter.  It's one of the "freeware" apps I actually contrbute $ to. 

But I've found it's direct to OP-atom function nearly useless as a practical matter.  It does not retain the metadata that allows you to relink to the original files in case of disaster.

I've found this to also be the case with Davinci Resolve, when you use it to make Op Atom files - the source file info gets lost from the metadata.

There is a way around this in Resolve - assign a reel number to your rushes before exporting.

Go to 'Settings/General options' and select under the Conform Options, select 'Assist using reel names from the:' and select the appropriate option from the available list. I generally use 'Embedded in source clip file' or 'Source file name'.

You'll find that once you have these files in MC, your reel name shows up as 'Tape' name/number

Bruno M:

I've found this to also be the case with Davinci Resolve, when you use it to make Op Atom files - the source file info gets lost from the metadata.

Hi Bruno M, I do not use reel names in my MC projects but now I am curious with this as to whether using the standard Resolve deliver template directly into an empty number only named folder in your media setup retains the file name info data in the metadata.

I use the method above as my only media input for MC. It equates to the original very reliable MC file import process and benefits from MC's indexing of the it's own media folder. It allows for exporting my offline AAF, with out media, that uses file names Resolve understands and will directly back to the original full resolution media. 

FWIW after giving this some thought this morning, when or if I needed Reel info in MC I would start by creating a new Resolve timeline for each reel. Export an AAF of each of those. Then in MC open each AAF source timeline into it's own new bin and label each bin with the the reel name and date.  Downside may affect some data based searches. Upside Reel based labelled bins with source string-outs and reel clips arranged by source times.

AndrewAction:

I do not use reel names in my MC projects but now I am curious with this as to whether using the standard Resolve deliver template directly into an empty number only named folder in your media setup retains the file name info data in the metadata.

I'm always conscious of how newer versions of software can sometimes change or break an established workflow, so the method I mentioned was (I think) carried out on Resolve 17 and MC 2018.12.15. 

I've always preferd to use MC to link to my camera rushes and transcode to create proxies. This works very well and I've never needed to make tape names - which does actually remove the source file names in the metadata. It was when I needed to bring in Arriraw that I turned to Resolve and discovered the source file info wasn't coming across.

It was an assistant editor who first pointed me to the 'Resolve reel name' fix as an alternative way to make sure I could relink in Resolve. We also had discussions about other metadata that didn't come across, like take/slate numbers. The fix here was to export an ALE from Resolve and merge this into the bin info in Avid. I had thought that the ALE might also populate the source file info, but sadly it didn't.

I've since been experimenting with the Nablet plugin to solve the problems of bringing in Arriraw into Avid. This is a paid plugin for around $200 and too expensive for the students I teach, but I discovered that using the demo version is not time-restricted. The only downside is every proxy clip will have the Nablet logo burnt into the shot - not a big problem if you're relinking/grading in Resolve and can live with the logo whilst editing.

Thanks for the reply Bruno M. Good to know there are other options out there. I built my method with only my setup in mind and have had Resolve, Pro Tools on MC computer for well over a decade. I create a Resolve and MC project at the start of every job. MC for all editing and Resolve for Linking, proxie creation and subsequent  re linking and grading. 

A useful side benefit for me is that it allows a client to view their original footage at full resolution in the correct colour space in less than two minutes simply by saving and closing the MC project and opening the Resolve Project. 

Bruno M:

The only downside is every proxy clip will have the Nablet logo burnt into the shot - not a big problem if you're re linking/grading in Resolve and can live with the logo whilst editing.

An after thought. This could be a benefit for starting in Resolve. Add a the reel name in discreet text to the Resolve string-out timelines before creating your delivery to MC proxies media.  Students should be able to achieve this with the free version of Resolve,