Hi I work with 4k quite a bit but I have tried transcoding down the vision to DNXHRLB to edit and the work and then relink to the 4k media via relink.

Got the process from here:

https://www.youtube.com/watch?v=N2IFn5rpif4

 Sometimes it works depending on the size of the segment. 

6 episodes, 90% shot in 4k make it very frustrating when things don’t go well on the relink.

Please can anyone in the TV industry that uses 4K how do you edit efficiently.

4K is too taxing on my avid AMA linked.

I just completed a segment and media encoded the vision from 4K to DNXHD HQX and edited it in 1920x1080, just to save time but lost my 4K capability. It was fine for this segment but will not be for others. 

I would love the help

Thank you in advance

 

I am in Australia

Why not transcode to DNxHR SQ or DNxHR HQ? That would be the way to avoid any relinking/conform.

By "lost my 4k ability", i'm assuming you are referring to working in an HD timeline, but using the full 4k raster to punch in or move around the screen?

If so, then I assume you are only finishing in HD?  I ask this because everytime a director or producer tells me they are shooting 4k so they can reframe as needed, i remind them that they also said they wanted a 4k master.  If you are planning on finishing in 4k, than the ability to punch in on a 4k shot is lost.  (It is the same as just resizing the shot)

If you are finishing HD, then i would agree with Job.  Make your proxies lighter versions of 4k material.

You didn't mention what you were shooting on.  I'm assuming it is a fairly heavy workload codec. 

Thie other option would be to transcode to HD, reframe the occasional shot, and just make a note that this needs to be treated differently in online, with the 4k master file.  This is typically how I work as i try to avoid jumping in too much to 4k footage, as i find as often as not, the focus becomes a bit too soft., or as I said earler, i am going to finish in 4k, so it is pretty much just a resize anyway.

Mister Glenn Sakatch.....a member of the Thu, Oct 13 2005 crew....with a pro response...nice....

....and Job ter Burg with over 13,000 responses....

....compared to hundreds for Glenn...both effective members of the Thu, Oct 13 2005 crew....quite the crew, yes?

Hi Job

I transcoded down to DNXHD HQX from Media Encoder then dropped those clips into avid via AMA.

Do you think HQX is overkill? 

I just want the quality to stay high, and yes I lose the push in ability, but what can I do. 4K is making camera operators very lazy and giving directors the "we will "push in" in post option.

Also is it my eyes but just recently my 4k vision looks soft but once I grade it a bit its ok?

i'm really at a loss as to the best option. 

I like whay Glenn said as well, I will thank him also. 

How does this sound.

Trans my 4K vision to DNx HQ in media encoder and work with that, it still gives me 8 bit or should I stick to HQX and have 12 bit?

Thanks

john 

 

What are your source files? Why are you transcoding in Media Encoder rather than in Media Composer (or Resolve)?

In the US, for collaborative editing (e.g., multi-episodic TV show), the workflow is almost always AMA link, transcode to lower res (DNX36 / 1080), edit, conform back to the camera originals, color grade, and then output. Some parts are modified depending on the preference of the assistant editor and post super. Editing in 4K is expensive because it requires better storage, higher bandwidth thus more robust infrastructure, more powerful computers, etc. Simple tasks such as copying, uploading and downloading files significantly take longer than HD files. When the editing schedule is much tighter (e.g. live events) then transcoding to proxy is typically avoided. The team will edit using the camera's original files.

Paddy2:

6 episodes, 90% shot in 4k make it very frustrating when things don’t go well on the relink.

This covers pretty much everything that could go wrong with a relink: https://kb.avid.com/pkb/articles/en_US/Knowledge/Troubleshooting-relink-No-Clips-Were-Relinked

Paddy2:

4K is too taxing on my avid AMA linked.

Your other option is a 'direct online' workflow...

1. Transcode your files to DNxHR SQ or DNxHR HQ

2. Enable the 'Reduced Raster' setting to move the project to HD temporarily

3. Edit until picture lock

4. Disable the Reduced Raster setting, then finish and deliver

wow, Robert, never noticed that before

Thank you Philip and everyone.

I will try this and let tyou know how i go.

I like step by setp instructions 

Thank you

John