Hi David:
The scenario I'm most familiar with is transcoding from AMA-linked full-rez files. In that case, relinking a lower-rez sequence to the full-rez files is usually pretty easy. The most foolproof method would be something like this:
1. create a video-only copy of your sequence.
2. Take your lower-rez editing media offline - ie. rename your "Avid MediaFiles" folders to "Avid MediaFilesX" or something similiar.
3. Bring your full-rez files online -- i.e. hook up the source drives and open your AMA bins, or relink the files via AMA in a new bin.
4. Select your video-only sequence (which should have nothing but offline clips in it, now) and relink. Source file name and timecode should work to relink.
5. Make sure there's no offline media left in your sequence -- ie. turn on timeline clip colour for offline media, usually defaults to bright red which makes it easy to check the timeline.
6. Name your "Avid MediaFiles" folders back to normal.
7. Cut audio from your offline sequence back to the online sequence.
Myself, I typically use a 'relink to selected clips in open bins' workflow, but I think the one I describe above is more foolproof if you're less familiar with the ins and outs of relinking.
Things might be more complicated if you transcoded your files outside of Avid, ie. in Resolve or something like that -- but it doesn't sound like that is the case for you. Things might be much more problematic if you have mixed frame rates in your sequence and have footage transcoded from one frame rate to another.
Depending on how the blowups were done in your sequence, you may find the relinking to be the easy part. If the blowups were done with frameflex, then they should be recreated from the higher rez footage automatically. But if the blowups were done with e.g. a 3dwarp, PiP or resize effect then you will have to recreate them with frameflex in order to maintain the underlying resolution of the native file. Depending on how closely you want to match the offline effect, that can be quite time consuming.
Cheers,
--Michael Brockington
I'm not a conform guy. Strictly offline editor. But I've got a project in front of me shot on the EPIC. Footage was transcoded to DNxHD 175 for cutting. Lots of talking heads shot at 5K. In the cut are lots of re-sizes (medium shots to close-ups, etc.). The client wants a presentation version of the offline that uses the original 5K RED files to create the blow-ups so that we're not blowing up the HD-rez DNxHD's and compromising the quality of these resized close-ups, but rather accessing all those delectable available pixels from the 5K for a more pristine blow-up.
As I began, I'm not a conform guy. I do movies in which I just export an AAF or an EDL, and hand it off to the Conform and Color people. But is there a relatively simple protocol for relinking my transcoded DNxHDs back to the original .r3d's so that I can enlarge the frames with impunity, going back into the 5K's as it were to get a cleaner image for my 1920x1080 offline? Again, the goal is to do this as much within MC as possible. I don't have access to Resolve or Speedgrade or some other system such as that.
Again, here in the offline I'm not cutting AMA-linked material. I'm cutting DNxHD's that were transcoded from originally AMA-linked files.
I hope this makes sense. Any counsel would be appreciated.
David Dodson
davaldod@gmail.com
Posted by: Michael Brockington <mbrock321@gmail.com>
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