dailies question dnxhd115 with 7 audio channels synced need export back to dnxhd115?

[Brian Merlen]

I am working a couple days on a feature to help get them set up. So far I ama linked all the files and started transcoding them to dnxhd115, this will be done by tomorrow. I have 5 channels of audio from a field recorder that needs to get synced with 2 channels of camera scratch from red epic, both have time code. Today I tested it all a bit, here is where we are now stuck (and questioning our best workflow)


We want to give "self contained" files to the person who will cut this, we are only doing the transcodes and later finishing and ideally the files should be DNxHD115. So once its all synced in the timeline we want to export it in a way that keeps it DNxHD115 but also keeps everything synced, IE we don't want to have to give the editor our sequences, just bins and media files pre synced.

So whats our best bet as far as exporting from Avid in order to do this? we tried a QT wrapper and AAF, the wrapper works but no fast import back in, the AAF worked too but gave us a master clip conflict since we were still within the same project. We were thinking we could just make a second project to get rid of the conflict and bring it in synced into that one was one guess....


To be honest, I usually do a prores workflow for something this convoluted, so I am just trying to wrap my head around the best way to do this via DNxHD115. I mean its not even really self contained files to begin with, but regardless of that we are trying to minimize what we need to hand off by avoiding the sequences.

The current transcodes have the r3d naming system in case we ever need to reconform/relink to the raw (a possibility down the line 6 months from now). So keeping this synced, simple, and not screwing us over on a possible relink is the name of the game. So any advice from more Avid centric gurus would be highly appreciated!

 

[Marc Wielage]

I know of no way to do what you're asking. The editor should be doing the multitrack syncing, and he or she could do that with the XMLs that you should be able to generate in dailies. Transcodes in general are just for picture at this early a stage in the post process.

You do need to keep the transcoded file names identical so that you'll be able to relink back to the R3D's later on. The editor needs to make sure that the reel numbers and track names are maintained when the sound files are imported and synced up in the editing process.

 

[Steve Sherrick]

Create a Film project in Avid. 4 perf is fine. This will allow you to do synching on quarter frames to fine tune sync.

I would transcode the files to DNxHd115 either via Redcine-X or Avid AMA. If coming from Redcine-X, make sure to follow proper AAF/ALE merge protocol to get all of your RED metadata merged into the files.

Import your BWF into Avid. Use Avid's autosync. If your timecode is solid, choose to autosync by timecode. If not, you may need to use in points. You can choose which tracks to keep.

You would then deliver a folder of MXFs and the bin(s).

There's some other details I'll try to add to this workflow to make sure you track certain metadata properly after you merge the video and audio together. Michael Philips may beat me to it. But if not, I'll update this tomorrow.

 

[Nick Morrison]

Could you just give them the Avid Project and associated media files?

 

[Steve Sherrick]

Redcine-X Transcoding, sync in Avid

1. Transcode to DNxHD115 MXF in Redcine-X. Use the AAF+MXF setting. Also, in the last page make sure to check "Use Restricted SMPTE range". Create a new folder for each batch of transcodes. This will generate AAFs, MXFs, and ALE file.
2. Copy the MXFs into an MXF folder in the Avid MediaFiles folder.
3. Drag the AAFs into a bin.
4. Your clips should now be online, but you will want to then highlight them all and drag the ALE file onto them (make sure you have Merge with Known Sources selected in import options). Now you have all of the RED metadata that will be tracked throughout the editing process.
5. Import your BWF into bin. Before synching, do the following

• Duplicate the Start timecode of your audio clips to an Aux TC column. Any of them should be fine, just don't put it in Sound TC column as that only tracks as 30fps.
• If your sound recordist did a good job you will have scene/take info in your name column upon import into your bin. However, when you autosync it will default to the video name. So create a custom column and duplicate your Name column into that. That column can then be used to recreate the name information very easily later on.

6. Highlight the video and audio clips you want to autosync, proceed to Bin>Autosync. You will select sync by timecode. It also gives you the ability to select which camera tracks to keep as well as which of the tracks to grab from the BWF.

What is created is essentially a merged subclip.

7. Make that custom column you created visible and duplicate the info from that into the name column and you now have synched and named clips. You can then hand this bin(s) to editor and they can start editing away. I also provide the bins with original clips and imported BWFs as well for obvious reasons.

There is really one gotcha with this workflow. Because you are in a film project, you are not allowed to edit beyond subclip boundaries, so if that will be an issue for editorial then do the same workflow as above but choose standard video project. You just won't be able to perform 1/4 frame synching.

 

[Brian Merlen]

Well not sure how this may affect it but the audio guy just kept rolling. So I have super long 5 channel recordings and footage that randomly syncs in with massive gaps of slug without corresponding visuals. Many video files correspond with just a handful of audio files on all three days of shooting and final day was a two cam shoot...

I tried the auto sync and saw that it was making sub clips. If I isolate these sub clips into a bin, and give the editor our Avid Mediafiles and our bin of synced sub clips will that work as far as a dnxhd115 synced 7 channel hand off? For some reason they just don't want to hand off project files or sequences so I got them started by batch transcoding all the r3d files and thats going to take a day or so. The auto sync should work and everything should sync up instantly (two test clips worked today which I transcoded to test with). only part I wasn't sure about was the hand off of synced dnxhd115, so i really appreciate all of your help guys.

although I have been using Avid full time for 2 years now (and set up a 5 bay Evo) I still find myself always learning more. Truly I appreciate your help! ps any idea why avid transcodes these 5k files twice the speed of the optimized redcine?

 

[MichaelP]

Syncing in Media Composer always creates a subclip as it points to two different sources. Handing off bin, and media is the way to go if you're providing synced dailies per their DNxHD 115 spec. It also seems they want the synced clips to contain all 7 tracks? Typically, when working with lots of ISO's, the MIX track is synced and the editor can match back to ISO when needed. But that is an editor preference, so in this case they may want to carry all 7 tracks on the clips.

As far as why MC transcodes faster? I don't know - Is Redcine set to use the same debayer as in MC? Are you using Redline in Recine X Pro?

Michael