Have you considered having FCPX do the conversion? Basically, you can set it to "create optimized media" and it handles that on ingest. Then both Avid and FCPX have a path to the original media that each program can understand.
On Fri, Dec 7, 2018 at 1:06 AM Dennis Kutchera dennis.kutchera@gmail.com [Avid-L2] <Avid-L2@yahoogroups.com> wrote:
You can use DaVinci Resolve to translate XML to AAF if that helps. FCPx compound clips might create issues, but I can't say for sure. They confuse Resolve so it doesn't know the clip's codec but I don't know if they impact generating an AAF or not.Dennis Kutchera--On Fri, Dec 7, 2018 at 01:13 John Moore bigfish@pacbell.net [Avid-L2] <Avid-L2@yahoogroups.com> wrote:I don't think what I want to do is possible or even needed for my current project but I figure somebody might enlighten me and expand my file metadata knowledge.We have an Avid multicam show shot 4096x2160 on Panasonic Varicam 35 in VLog. We do this all the time and ama linking and transcoding to DNx36 for offline and DNxHRHQZ for online. All the relinking works virtually all the time.Today it was decided that we need to convert the camera originals to ProRes 4K so someone can go off and experiment with cutting in Final Cut ProX. There are some transitions effects the producer likes so they want to work in FCPX to integrate some interstitial elements.. We are not trying to migrate the Avid sequence to FCPX at this time but provide the editor with the raw camera sources converted to ProRes4K. The other hurdle is rather than the camera original audio they want the program mix from the DAW at the event to be married to the prores files. The audio seems to be the bigger hassle.I am trying to find out if there is any way I could make the conversion in a manner that might allow for the FCPX work to be migrated back to Avid in a manner that would maintain the relationship to the original ama camera raw master clips. I think it's a long shot but worth asking?I've got two approaches in mind. First I'm transcoding the ama cam original to ProResHQ.. The AVC-Intra is 422 YUV to begin with so I don't see that as a big quality hit. Then I can take the AE's camera stack sequence and subsequence out each camera track along with the DAW program audio that is on A1 and A2 of the stack sequence. First approach is to just match the sequence time code to the video time code and export the video and audio naming the sequence the same as the original file name. This works and the Vlog LUT gets baked into the exported same as source .mov.The second approach is similar but I would take the subsequence and create a sync clip from it that I can then export from the bin.. This approach still bakes in the LUT which is desired so they don't have to tweak the VLog in FCPX.I'm thinking that in some way the sync clip approach might include more metadata that might facilitate later relinking in Avid but this is pure conjecture. Both approaches will marry the audio to all the cam files with matching time code but that's probably all.At this point I don't know what will come back from FCPX but most likely we will end up eye matching and perhaps integrate the unique to FXPX transitions. Not sure how to manage the color but that's less of a concern at this point.I'm trying to go with the flow and not be too judgemental. After all I am not familiar with FCPX and it's fancy transition built in effects. My biggest fear is the FCPX work will come back and it will be the falling sheep transition. If that happens I might have to go Postal in Post. ;-)John Moore Barking Trout Productions Studio City, CA bigfish@pacbell.netDennis KutcheraColourist, Online Editor, Technology MagicianHalifax, NS Canada
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Posted by: John Pale <pale.edit@gmail.com>
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