Avid Workflow Question?

[Dustin Cross]

So I have never worked with Avid, but my next feature is cutting on Avid. My plan is to give them DNxHD36 quicktimes for the offline, but after doing some quick research, it sounds like they won't easily be able to conform to the original R3D media. Is that correct?

Also, the editor wanted to rename all the files to scene and take. She doesn't want to see clip names c001_a001... in her timeline. I assume there is an easy way to do this in Avid without renaming the actually files?

They are planning to use MC5 for the offline. We don't know where we are doing or online yet, but I just want to make sure the workflow I start on set will work with the Avid way.


Thanks,
Dusty
Local 600 DIT

 

[M Most]

So I have never worked with Avid, but my next feature is cutting on Avid. My plan is to give them DNxHD36 quicktimes for the offline, but after doing some quick research, it sounds like they won't easily be able to conform to the original R3D media. Is that correct?

Also, the editor wanted to rename all the files to scene and take. She doesn't want to see clip names c001_a001... in her timeline. I assume there is an easy way to do this in Avid without renaming the actually files?

They are planning to use MC5 for the offline. We don't know where we are doing or online yet, but I just want to make sure the workflow I start on set will work with the Avid way.

They won't have any problem as long as they're not trying to conform in the Media Composer itself. Any common conforming system will reconnect just fine as long as the original file names are included somewhere in the bins. Depending on how the bins are created, this is usually in either the Tape or the Camera Roll column. As long as that's the case, the editor can change the clip names to anything she wants. Any specifics in terms of EDL or AAF creation can be worked out later with whomever is doing the conform.

 

[MichaelP]

Just to add a bit of precision - you can conform in Media Composer if you start with AMA and conform with AMA, or you start with TAPE and end with TAPE. You just can't cross between the two ways of tracking sources when conforming with Media Composer. Other than that, what M Most says.

Michael

 

[Dustin Cross]

So it seems DNxHD36 is pointless for me to create, because the Avid guys still have to import to MXF and that takes as much time as me generating the DHxHD files in teh first place. So I will make MXF files right out of RedcineX.

How can I make MXF files out of footage we shoot on other cameras?

I am trying to make life as easy as possible for the post guys.


Thanks
Dusty

 

[joe hedge]

You can make .mxf files in RedCine-X that are DNXHD 36 in either 720 0r 1080, open up RCX and check it out

 

[Dustin Cross]

We are shooting a couple cameras that aren't Red. How do I make those into MXF? RCX works great for my Red footage.


Dusty

 

[joe hedge]

We are shooting a couple cameras that aren't Red. How do I make those into MXF? RCX works great for my Red footage.

In Avid, batch imports as .mxf wrappers, which they'll probably have to do.

 

[MichaelP]

You can make .mxf files in RedCine-X that are DNxHD 36 in either 720 0r 1080, open up RCX and check it out

DNxHD 36 is a 1080p data rate only. I would not recommend 720p for offline workflows since the timecode is not correct when shooting 23.976 and 24fps.

Michael

 

[Dustin Cross]

The post guys want me to provide them with an MXF. They do not want to deal with importing and having Avid make MXF. Is there any software that does that for Prores files or 5D footage?


Dusty

 

[joe hedge]

DNxHD 36 is a 1080p data rate only. I would not recommend 720p for offline workflows since the timecode is not correct when shooting 23.976 and 24fps.

Michael

whoops...thanks