David,
First, I don't know anything about ArriRAW, but what I do know:
How on earth are you going to get the dailies? Pigeons with memory sticks?
I don't know about the remote AE, but I do know that using PluralEyes for dual system sound sucks donkey balls.
The sound guy WILL have TC on his recorder. There is no reason at all NOT to have external TC on the camera.
(a stupid Tentacle sync will do the job, and is dirt cheap, but any decent sound guy will have everything that's needed.)
Then, EDL? Why not AAF or alike?
(And I would use something like Resolve to create dailies, since it's Raw, but perhaps Premiere will do the same job. I know that the Resolve route will create things that can be relinked from AVID proxies to originals to finish in Resolve.
Others might have better advice, my main point is, do NOT trust someone who suggests using 'Alexa' and 'PluralEyes' in a workflow.
On 16 Jun 2017, at 15:17, David Dodson davaldod@gmail.com [Avid-L2] <Avid-L2@yahoogroups.com> wrote:I'm starting a movie that will shoot in a distant land. I'll stay in LA and cut it here as they send dailies. They're shooting Alexa ArriRAW 2K. The remote AE tells me he'd like to use PluralEyes and PremierePro to do the transcode and sync.
I've never received anything via this workflow. What happens? Can this PluralEyes/Premiere path result in files transcoded to DNxHD115 MXFs? Can it carry multiple tracks of 24bit sound? Is this workflow likely to result in a bunch of files that are then imported into MC using an EDL that contains all the relevant metadata?
Anyone out there in the braintrust do it this way? Any insight would be mightily appreciated.
Many thanks.
DD
David Dodson
davaldod@gmail.com
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Posted by: Bouke <bouke@editb.nl>
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