I've been a professional Avid editor in Los Angeles for 15 years. As we move to more and more WFH, regaining knowledge of these steps that I usually don't need to know as much about (since an AE is handling all this for me!) is really useful. If you haven't already started a Patreon or some other paid subscription, you should. This knowledge is very valuable and you should be (hopefully) making some money from sharing your expertise with all of us!
Thanks Ben! Yup got a Patreon going. Link in video description. There I go through more subjective stuff like my workflows and approaches to things as well :)))
This is such an excellent tutorial, I've been trying to learn Avid for some time and always get put off by the lack of decent tutorials but this explained everything perfectly, cheers!
You're very welcome! If there's any other topic on avid you'd like me to cover just let me know. Going to be making a bunch more of those very soon :)))
@@theavidassistant This may sound like an unusual request but for context, I've just graduated from BA(Hons) Television in Glasgow, UK, I'm a freelance editor and mostly work in Resolve. I recently had a look at some of the paperwork you may run into as an assistant editor in television and was surprised to find a lot of stuff I'd never heard of. I understand that you're from the UK and stay in NZ so I'm unsure how much of this will be the same but I'd be interested in a rundown/how to understand any paperwork you run into in TV/Film editing. Boring request I know, but as I get further into Avid I'm sure there's something else I'll look for haha. Thanks again!
Hey! Actually I'm just over in NZ for a job. I love back in the UK and often work in Glasgow! Currently on my way to the airport to begin the journey home. Can arrange a video call if you want when I'm back to answer any questions you may have on paperwork :)
I grew up in the Ozark Mountains of southern Missouri, so I've definitely heard the term "edjit" before... lots of Scots-Irish jargon still hanging around rural America. Several producers I've known over the years that might fit the description🤣. Love your tutorial. Been working in MC since 1999 and I still managed to learn a few new tips here. Thanks!
Oooh! That's a cool fun fact for me to know! And glad you liked the tutorial! I am consciously at all times trying to speak clear Queen's English in these and not sound like someone from Glasgow. When I relax into that even my own wife can't understand me 😂
@@theavidassistant Funny! I just thought my parents' families spoke "hillbilly" but now I'll just tell people it's "European" and they will be convinced that I am so much more refined. 😜 Everything is relative! My business RUclips channel is ruclips.net/user/digitallunchboxhd but I'm not a "youtuber" by any stretch. You've got some great Avid tutorials and I really appreciate them. Thanks again.
Great video! FWIW I've never bothered duplicating names column. I link the Original Camera Files in MC and generate proxies at the start of the edit. To conform I select the locked sequence, open the OCF bins, select all the linked OCF clips, then use 'relink to selected in ALL open bins'. Works a treat!
Thanks Nigel! Yeah I've used that method a lot and demo'd in other videos but it's not always foolproof if this step isn't done. There can be issues with that method on certain camera file types. Plus most of my conforms are going to Resolve and other online platforms so best to make it as easy as possible for them. Many VFX and online turnovers require the source file names or reels as burn ins to which is made easy with this 🙂
Hey Jack, fantastic videos! thanks so much. Quick question, when following this excellent proxy workflow. Could you clarify. Do you treat still images in the same way? Ie do you link to the original Still, jepeg, tiff, PNG etc and then transcode to create smaller, manageable media? It's not clear in the tutorial. Many Thanks
If you have a lot of images that are going to stay in online then yes I'd use this same process. Or ingest using the avid pan and zoom effect. Either way they should come through in online. It's not something I ever really have to deal with since I'm always in scripted offline and our images are always temp :))
Great, yes I have over 400 HiRes images, some 350MB in size@@theavidassistant So Transcoding for the offline, seems to me the best way forward. Many Thanks
@craigslattery3001 Just remember to transcode preserving the source resolution of the clips. Then you can use the full res of the image. Don't let it reformat for the project resolution :)
Hi, Right now they brought me a bunch of files shot on a Canon C200 in 4K. I downloaded the Canon RAW Plugin 2.12 for Avid Media Access, which is necessary for the AMA to work, from the Canon website and was able to view videos in . CRM format. I also downloaded the recommended color profiles and applied one of them, which allowed me to get a familiar image. Everything is complicated by the fact that, firstly, this is not an editing codec and video playback is jerky even at half the quality, and I don't have much space on ISIS, because right now I have two documentaries in the works and there are still ongoing works for the air. Besides, everything is shot in 50p. I asked for this in order to convert everything in the end into 50i, which will go on the air. Thus, my choice is DNxHR LB* codec while maintaining the original frame rate. And I was glad to find this channel, to which I have now subscribed, and this lesson to check if I am doing everything right.Thank you. * Since I'm on Windows 10, HP Z8 G4
Let me add that the transcoding process inside Avid can take quite a long time. Therefore, transcoding in a third-party application may be a reasonable alternative. But it is necessary to check whether it will be possible to return to the original clips or at least their mirror in a higher quality than the proxy by re-linking the contents of the bins.
I would definitely recommend transcoding in DaVinci Resole. There is a video on the channel going through the process. I have shown in a couple of videos as well the process for relinking back to the originals
Here is the link to my video on transcoding in DaVinci Resolve. Easily the best way to make avid transcodes in my experience and what almost all DITs do. Making DNx Proxies for Avid MC in DaVinci Resolve ruclips.net/video/M8iL7w9BBsk/видео.html
you should have gotten the 8bit 420 file as a reference. i use the c200 in 444 raw all the time and just overwrite the interviews of the 420 with the 444 DCI grade it and render it all AMA linked playback is smooth
Nice video - I like how patient you are considering the hurdles that Media Composer puts in your way :) Have you done a video about Dynamic Relinking? I'm working with Interplay and indexers, and on our systems the relink function never works because there are no database files in the media folders and it's the indexers that keep the information about media. Dynamic relinking works if we have multiple resolutions on the server. The only problem with that, is when trying to export AAF to dynamically linked media - the AAF seems to be created with links to proxies that exist in the Avid Media Files folders and the export ignores the dynamic link info from the indexing service. Even though dynamic relinking is working and the video inlay is linked to the full res. The way I get around it, is to create proxies, and use the proxy as my target setting and dynamic link to that, but work with the linked clips on the master timelines so that when I switch back to hi res, the AAF is put out with links to the original camera media.
Haha no so much patience as much as it is being accustomed to how media composer thinks. So it all seems logical to me because of how I was trained. Dynamic relinking isn't something I've ever used I must say. Is this a media composer enterprise function? Only had the "pleasure" of using Interplay once and I'm in no hurry to try it again. Wasn't fun! 😂
@@theavidassistant ha ha I know what you mean. We are just starting with UHD in MC. I’ve worked with the other NLEs quite a bit and the proxy workflow is easy. MC was confusing at first, because it still has legacy relinking, but your video was helpful. We use the 2020.12 ultimate MC, and dynamic relinking is strange, but it works well to relink to specific formats if you use the proxy setting in the format section - and that’s without copying meta in eg. Camroll for commonalty, the indexers take care of that. You have a working settings and a target settings that you can switch between and work with multiple resolutions and specific formats, so if you have UHD sources you can transcode eg. a network friendly HD proxy and just flip it to relink to linked UHD media and turn off proxy for output sharing/delivery or mastering hi res. Like everything it takes a bit of getting used to before the aaf links in other applications eg DaVinci. If you choose ’relink to camera media’ instead of auto, the media is offline. So it seems that the indexer is reliably inserting the correct paths in the aaf if I do it right in MC, and use auto in DV. I always do it that way with aaf from other sources, or other places where they run MC with the database files (rather than indexer service) so I thought I was doing something wrong at first. Still I found your channel - great stuff! . I’m happy now after a couple of attempts at back and forth, and dynamic relinking s one of the best functions in MC they have implemented for years I think. Although I do have a suspicion that Interplay is touchy and very static regarding updating the media indexer path when users turn on the dynamic linking in MC. It’s a lot of work to update the status of assets manually and if I don’t then the media might become orphaned and we have had issues with offline after deleting files on the same drives that the indexer considers not in use.
Amazing tutorial! I have a question about the "commonalities": In the demo, you are retaining the original camera-media file names (under CAMROLL) but not their file paths. Does this ever cause problems, for instance if there is more than 1 instance of the same filename among your footage? Is it ever neceseary to keep track of source filepath when making proxies and re-linking? How would you do that?
So I did once come across repeated file names and in that case we used a batch renamer utility to add a unique prefix to the beginning of every clip BEFORE brining it into avid or resolve. Repeated file names can cause issues down the line, especially if there's also similar timecode in the clips. It doesn't really happen on TV or main feature film jobs but on small stuff like short films it can happen and so I'd fix it in the finder first. The example we had was in every card the clips were just named C001 C002 C003... So we used the renamer to add a prefix to every clip of the camera card. So they all became: A001_C001 A001_C002 A001_C003 Then the next card... A002_C001... That solved the issue for us :)
@@theavidassistant Thank you! I had the exact same issue (on a short film). Not only were there multiple instances of the same file name, but all timecodes started at 00:00:00:00 ! I was new at all this and only realized the problem just before handing the project over to online! (Is this when you'd say "eejit"?)
Hey Jack love the video's, Ive found then very helpful. Im into 7months on 3 part series, just relinking one of the episodes and I have a question re 'Group clips' do they relink in the same way or do I need to flatten the group clip in someway? that is to get back to the originally named camera clip?
@craigslattery3001 Ah no they will still be groups of the same media but will reference what you've relinked them to. If you made subclips and grouped those then they will have the exact same name. If you grouped the source camera files then the name will change.
@@theavidassistant Thanks Jack, I don't quite understand what you mean, I think I may have messed up, I followed your Proxy workflow, transcoded all the camera media and created the group clips from the transcoded media. When I relink, the groups don't appear to be linking back to the camera media. A video on this would be great! Thanks again the videos are brilliant.👋👋
@@craigslattery3001 Right so this video is purely to do with making transcodes and relinking. It doesn't cover standard processes within Avid for stuff like renaming or grouping clips. One rule of thumb I have is I never rename clips when they are brought in, even (especially) transcodes. I'll make subclips of those transcoded master clips and rename those. Benefit here is that you can relink the subclips (and any group clips / multi-cam made from them) to different media but the subclip name is preserved. Plus all metadata is protected as you've not renamed the master clips. There's a series of videos in a playlist called AE100 on the channel. The section to do with sync'ing goes into this a good bit. But it's two long videos. For the benefit of explaining what subclips are, here's a short and simple sync'ing video that will show subclips: ruclips.net/video/cIgpr5QRoKw/видео.html
Great video thanks Jack! A question I have is .. I think with Avid you should have project settings at whatever your final deliverable will be (or can I offline in a 1080p project for UHD footage as long as FPS are the same given they are both 16:9?). If I then create LB proxies via link and transcode should they stay at the deliverable raster dimension or can I downscale to say 1080p for the offline without an issue when relinking at picture lock? (I guess this is where frameflex comes in). Cheers.
Yup you certainly can do this! In fact that's standard practice! Almost every avid editing project I've ever seen was at 1920x1080. For offline edits that's the way to go. Just make sure your frame rate is set to what you'll deliver in. It's only in an online editing project where you should have it set to your delivery resolution 🙂
@@theavidassistant Thanks for the reply! So the main thing to get nailed on from the start is delivery FPS, whereas resolution is always switchable back to cam masters at relink?
Exactly! In the AE100 series of videos I go through project set up quite a bit (I think I mentioned that there but now I'm doubting myself and will need to double check 😂).
@@theavidassistant Amazing cheers dude. Will check that series too... I've generally had these steps done by an AE on the docs I've edited so far but these are super important skills to have down so thanks for your very clear vids.
hey @everyone I have a basic question, why does people use DA VINCI for a proxy editing instead of transcoding straitght to AVID in proxy en then relink to media files for the final export? Thanks for your answers
So it's very common to make avid transcodes in DaVinci frankly because it's faster. Resolve has hardware acceleration and uses the GPU power where avid doesn't do either. Plus on larger productions it's common to have custom LUTs / Grades applied to the rushes before transcoding which is better done in a grading tool like Resolve. Plus a lot of the time it's gonna end up in resolve later for the grade anyway so it's a good test for ingest / conform. It's also common that the transcoding on large productions is not done by anyone in Editorial. It's done by the DIT department on set and Resolve is a simpler and more intuitive tool for them to do transcoding in and transfer the transcodes to editorial since it's got a lot of functions built for that specific scenario.
Dude I just learned that avid has proper proxy workflow but only with the enterprise subscription, this transcoding and relinking is very old school, in other NLEs that was the old process as well, I recently worked in a tv show where strangely, they were using premiere, and with the proxies it was so easy. Have you worked much with proxies in other NLEs?
Certainly have. I have seen videos of the newer proxy process in Enterprise. I think I've mentioned it in some of my videos. However it's Enterprise only and won't be coming to the other tiers anytime soon unfortunately. I can see ups and downs to both since in general I am a fan of things being more manual but in general Avid's media management does need a more modern update with never tools. Maybe eventually we will see the Enterprise features work their way down to Ultimate and standard.
@@theavidassistant I find it really annoying that Avid is doing that, there are other things that are also weird in Avid, simple things, like working with text or stills, of course once you use the software for a while it becomes "normal", but once you learn how the other ones work it just doesn't make much sense. I get that Avid is intended for long forms mainly, and I guess that's great when that's all you do, but in my case, I've been doing both, long and short form and I just wish I could have only one software, pay only one subscription or even better none at all (shout out to DaVinci). The truth is that the editing tools are quite basic, cut and paste, all the other stuff around is extra, but when that extra stuff works well, it makes the process easier. What downs have you experienced working with proxies? since I started using them on the other NLEs I have never gone back to the transcoding workflow.
Transcoding and using Proxies are essentially the exact same thing. Avid's way is just a bit more manual. The downs involve a little less control when separating proxies from the source clips and I've seen it result in some lazy assistants once they get used to it and don't understand the depth of the various codecs, moving them around and relinking between different systems.
@@theavidassistant uhmmm, well I haven't considered the human error, I'd say that's on each individual, but you are right on that one. I'd say the difference between transcoding and making proxies is the workflow and I consider the proxy workflow to be easier, both get the job done in the end, so I guess it's up to each user. My original point was, that since Avid finally adopted the technology of proxies, it'd be nice to have it in the lower tiers.
It may come in time. Other Enterprise features have trickled down before. I'd say the main difference between the two is the connection to the master clip. Transcodes are proxies. Lower res versions to work with. The difference in other apps as I allude to in the video is the way they are handled in the bg and stay attached to the main clip. It is a lot more convenient in that you can simply create them in the bg and just toggle between them. In the meantime I'm happy with the workflow as is. Mostly because I work in long-form and I encounter the source camera clips. Transcodes (proxies) are made on set and delivered for me to work with.
So here's the way my post house does proxies. We will all do a bin just for linking all of the clips, we then transcode all of the clips. Once the transcodes are done, we will delete the .new files. Unlink the pointer clips, then relink to the proxies in the avid media files folder. To reconnect, we would make the cips offline, then in a new bin, we would bring the clips back in which would relink the existing masterclips.
Whatever works for ya! My personal favourite is a resolve transcode and not even connect the source camera files to an avid until online. As long as there's a stable workflow for proxys, happy days!
Hi Rishav, So there's two types of VFX that I make my markers for going into online. First is actually conform or DI notes. This is stuff like respeeds, keyframed resizes and Simple masking to remove boom mics and stuff. Generally you shouldn't have to do anything for for this. It should relink. You see at the end of the video when I bring it in Resolve gives a warning whenever there are effects that are not supported and those ones you'd re-do manually in resolve using notes and comparing to the source. This will be done by the online editors or the DI department at the facility. The other type are proper VFX shots that range from everything from muzzle flashes to full CG creatures and those will be delivered to the online guys directly by the VFX vendors as .exr files and online will slot them into the edit. Hope that answers the question!
Hi, maybe i got lost, but what happened to the color correction on the timeline with the original files at the end? Do color effects made with proxys not transfer to the timeline with the original files?
Hey not sure what you mean. Just double checked the video and there was no colour correction on the clips on the timeline. There was clip colouring (as in the colour the clip shows up as on the timeline and in the bin) but since the source clips and the proxy clips are seperate clips in avid. Seperate files, they would be assigned colours independently.
Hi, thx for the video but i've followed each step of this workflow but want I wanna relink it told me "No clips were relinked. Youn may want to select "All Alailable Drives"... Any idea of what can be the problem ?
It's difficult to diagnose without more info. I've done this for 12 years and haven't had an issue once so I trust in the workflow. Are you directing it to the media in the relink window with the "selected items in all open bins"? Have you selected the metadata column you've used for commonality in the relink window? If you send me some screen grabs and details to my email at theavidassistant@gmail.com I'll do what I can to help :)
thx so much for so fast aswer ??? my source clips just went offline so i relinked them and everything worked very well !! thx again you're a legend mate@@theavidassistant
Hi Avid Assistant, I was wondering if you could give advice about linking to new proxies after editing with old proxies? Is it as easy as switching MXF files in Avid MediaFiles for the new proxies, and “hiding” the old ones? I made proxies in DNxHD LB and need to change them to DNxHD HQ. any advice is helpful!
Hi Michael! So as long as the commonality (tape name ideally) is there this should be an easy one. Simply remove the old proxies from the Avid MediaFiles folder and replace them with the new ones. Then delete the .mdb file in that numbered folder and let avid do a rescan of it. It SHOULD relink automatically as all the metadata and timecode will be the same. We do this frequently as all transcodes are done by a DIT in Resolve and sometimes need to change the LUT or fix a transcode glitch. Just don't delete the original ones when you move them out just in case there is an issue and you can put them back.
Thanks for the videos! What about transcoding footage in Resolve that has a lot of same names across the shoting days? (f. ex. C001, C002, C003 at day 1 and same source filenames at day 4), i am a bit afraid of "assisting using reel names" because reel names has still the same info. Is the REEL NAME the same as Avid TapeID? If so, why it cannot be changed from davinci level manually? What unique metadata column (in resolve) should i add before exporting files from davinci and ingesting them into Avid? Cheers!
Okay so first off, in the rare instances when that happens I first chastise the camera dept for stuffing up! Then in terms of tape name / commonality I've got two options for you of how I would do it: 1 - create a new bin for each shoot day / reel and give it a unique name (DAY01_C001). Then in resolve change the "set reel name" to use the bin name in Resolve. 2 - You can add a prefix to the source files. This is option two as it depends on the camera you are using. Alexa / RED, no problem. Canon I'm not sure but may be fine (I'd test it first on duplicates). Basically use a batch renamer to add a prefix to all the clips for each shoot day. So day01 clips would look like DAY01_C001 etc and once they are all renamed, run them through the usual resolve transcode method as is shown on the channel. I've used this a few times when duplicate names have appeared in projects.
If you have camroll filled out there's no need to bother with the reel. As long as you have common metadata between proxy and source you are all good 👍
Can you make a video of roundtripping from Avid to DaVinchi resolve and when color grading is finished in resolve...how do you bring it back into avid? How to link back the color graded footage back into the original Avid timeline. Thanks in advance.
So most of that is probably covered in "The Proxy Workflow". Most recent video. I demonstrate migrating the picture to Resolve and describe how you'd bring the sound part of the timeline over. In terms of coming back to Avid from Resolve. I can definitely cover that in a video soon :)
I just AMA link from a very very fast m.2 drive..even 444 raw plays okay and 422 60 10 bit plays fine...most of this is old method thinking...would take months to do this on a full series or sitcom.
It's done pretty often on every large series I've ever worked on like Ash vs Evil Dead and Outlander. Only time I've ever worked with linked footage is on my own when I need to be quick. Every professional job I've ever had has used proxies, including a sitcom for the BBC in 2022. You can have the fastest storage imaginable but if using avid I'd still rather have proxies as that's what it's built for. Plus most edit bays work off of network storage. Generally an Avid nexus so speed is at best 10GB Ethernet. At the end of the day if linking works for you then awesome! Have at it. But this is an industry standard workflow used on just about every feature film and tv series around.
@@theavidassistant yeah...but i feel like youd be using massive storage each time (im workin with 43 tb of a docuseries) whenever I do this method it takes all day, doubles the storage etc... ama linking saves time..i wish avid did things properly tho ive been on it since I was 9 years old in 1997 so i refuse to learn another NLE lol
@Brett.Hatfield On scripted stuff there is a department for it. DIT. They transcode on set as they are shooting and as Editors we only get sent the transcodes. Never need to see the originals. Then post facility deals with it upon online turnover. To each their own but I personally love this method for its reliability. Yeah more storage is required but if you have enough space for all the source material you already have a lot of space and DNxLB processes are a lot smaller. I came up at a post facility and then as an Assistant editor so I'm a big fan of processes and not having the software do stuff for me. But I'm all for everyone working however works best for them so again, if linking works well for you then go for it, I just don't see it at all as "old method thinking" especially how we are so often dealing with source files that are too big for the NLE to handle in a live edit with effects stacked (R3D RAW footage for example)
Call me a curmudgeon but this was called The Proxy Workflow in Avid Media Composer, right? You obviously don't particularly like Avid and I get that. But I started watching AS AN AVID EDITOR...not to learn about other proxy workflows from other NLE's. Your dislike of Avid really stopped me from going further after your Linking vs Importing diatribe. I amsure your a great AE, but why not retitle this The Effed Up Way Avid Does Proxies VS The Cooler Guys. Thanks...will find another non-irritating tutorial. (You do seem like a nice guy tho')
Whatever works for ya pal! If you don't like how I've presented the video / info by all means don't watch. AS AN AVID EDITOR myself (moved on from assisting a while ago) the number one thing I get when I try to train assistants or introduce people to avid is confusion and complaints about Avid's ingest terminology. So if I'm going to make a video on the topic I have to address it. Especially since the majority of people watching will be newcomers to avid. Which is why I researched how other NLEs work for this video, to give people a way in to learning how avid does things. Relating to what they know. I myself have never used Resolve or Premiere to cut. FCPX I've used a little but only for short and quick videos. I'm an avid guy. 11 years in editorial that's my NLE of choice and never used another one for work. Would rather not take a gig personally than cut on Premiere. Avid is what I know inside and out. If I "hated" it, why would I waste time making these videos? RUclips gives a very small payout of about £70 every few months so it ain't for money! 😂 It's to help people learn to use the NLE that I know and love. I must say I really don't understand your reaction (I'm assuming you stopped early on or during the "importing / linking skit" but hey, whatever works for you. Both avid editors and newcomers have told me this is their favourite video on the channel and asked for more like it so the best I can do is go off that and hope that you learn what you came here to learn somewhere else that's more your tone. You could try freddylinks.com or the "let's edit with media composer" RUclips series that may be more your speed. No attempts at humour there :)
Great info as usual. I am lazy and use option drag to bring files from finder to avid bins instead of source browser. I set my link settings in advance. Then r click on clips in the bin/modify/set source/tape name and use the clips tape name in finder as my "commonality".
Thanks for watching Kenny! Alt-drag is an awesome little feature and I do use it whenever I need to bring stuff in quickly but I have a soft spot for the source browser. Plus I figure if I'm gonna show people I should do it the "proper" way haha I really wish that Avid had a setting to automatically dupe the source name into a "commonality" column. In fact there is one there in the link settings! But it doesn't bloody work!
I've been a professional Avid editor in Los Angeles for 15 years. As we move to more and more WFH, regaining knowledge of these steps that I usually don't need to know as much about (since an AE is handling all this for me!) is really useful. If you haven't already started a Patreon or some other paid subscription, you should. This knowledge is very valuable and you should be (hopefully) making some money from sharing your expertise with all of us!
Thanks Ben!
Yup got a Patreon going. Link in video description. There I go through more subjective stuff like my workflows and approaches to things as well :)))
Thanks from Spain. I'm student new with AVIDm you video I have helped much to understand workFlow en Avid
Glad to be of help!
Such a concise and easy to follow tutorial. No longer intimidated by this process or the Avid Re-link window. Thank You!
Thanks!
This is such an excellent tutorial, I've been trying to learn Avid for some time and always get put off by the lack of decent tutorials but this explained everything perfectly, cheers!
You're very welcome! If there's any other topic on avid you'd like me to cover just let me know. Going to be making a bunch more of those very soon :)))
@@theavidassistant This may sound like an unusual request but for context, I've just graduated from BA(Hons) Television in Glasgow, UK, I'm a freelance editor and mostly work in Resolve. I recently had a look at some of the paperwork you may run into as an assistant editor in television and was surprised to find a lot of stuff I'd never heard of. I understand that you're from the UK and stay in NZ so I'm unsure how much of this will be the same but I'd be interested in a rundown/how to understand any paperwork you run into in TV/Film editing. Boring request I know, but as I get further into Avid I'm sure there's something else I'll look for haha. Thanks again!
Hey! Actually I'm just over in NZ for a job. I love back in the UK and often work in Glasgow! Currently on my way to the airport to begin the journey home. Can arrange a video call if you want when I'm back to answer any questions you may have on paperwork :)
@@theavidassistant Ah lovely, yeah that would actually be brilliant! Whats the best way to get in touch to arrange details?
theavidassistant@gmail.com
Flick me an email there and I'll check in with you when I'm back UK-side and we can chat :)
I grew up in the Ozark Mountains of southern Missouri, so I've definitely heard the term "edjit" before... lots of Scots-Irish jargon still hanging around rural America. Several producers I've known over the years that might fit the description🤣. Love your tutorial. Been working in MC since 1999 and I still managed to learn a few new tips here. Thanks!
Oooh! That's a cool fun fact for me to know! And glad you liked the tutorial! I am consciously at all times trying to speak clear Queen's English in these and not sound like someone from Glasgow. When I relax into that even my own wife can't understand me 😂
@@theavidassistant Funny! I just thought my parents' families spoke "hillbilly" but now I'll just tell people it's "European" and they will be convinced that I am so much more refined. 😜 Everything is relative! My business RUclips channel is ruclips.net/user/digitallunchboxhd but I'm not a "youtuber" by any stretch. You've got some great Avid tutorials and I really appreciate them. Thanks again.
Great video!
FWIW I've never bothered duplicating names column. I link the Original Camera Files in MC and generate proxies at the start of the edit. To conform I select the locked sequence, open the OCF bins, select all the linked OCF clips, then use 'relink to selected in ALL open bins'. Works a treat!
Thanks Nigel!
Yeah I've used that method a lot and demo'd in other videos but it's not always foolproof if this step isn't done. There can be issues with that method on certain camera file types. Plus most of my conforms are going to Resolve and other online platforms so best to make it as easy as possible for them. Many VFX and online turnovers require the source file names or reels as burn ins to which is made easy with this 🙂
This seems like a good video about a needlessly complicated process.
Great video! Thanks for the tips! I've done all my assisting in Premiere Pro and this makes the shift to AVID much easier! Thanks! :)
You're Very welcome Alysha !
If there's ever anything else in Avid that's not adding up just let me know and I'll be sure to cover it on the channel 😉
@@theavidassistant Thanks! It's greatly appreciated! :)
This is such a useful tutorial. Thank you.
This was awesome! Thanks. Would love to see your take on a multicam workflow in MC
Thanks! Could do. I've used a few multicam workflows on different projects depending on the situation. Avid handles that pretty well :)))
Excellently useful stuff!
Hey Jack, fantastic videos! thanks so much. Quick question, when following this excellent proxy workflow. Could you clarify. Do you treat still images in the same way? Ie do you link to the original Still, jepeg, tiff, PNG etc and then transcode to create smaller, manageable media? It's not clear in the tutorial. Many Thanks
If you have a lot of images that are going to stay in online then yes I'd use this same process. Or ingest using the avid pan and zoom effect. Either way they should come through in online.
It's not something I ever really have to deal with since I'm always in scripted offline and our images are always temp :))
Great, yes I have over 400 HiRes images, some 350MB in size@@theavidassistant So Transcoding for the offline, seems to me the best way forward. Many Thanks
@craigslattery3001 Just remember to transcode preserving the source resolution of the clips. Then you can use the full res of the image. Don't let it reformat for the project resolution :)
Hi, Right now they brought me a bunch of files shot on a Canon C200 in 4K. I downloaded the Canon RAW Plugin 2.12 for Avid Media Access, which is necessary for the AMA to work, from the Canon website and was able to view videos in . CRM format. I also downloaded the recommended color profiles and applied one of them, which allowed me to get a familiar image. Everything is complicated by the fact that, firstly, this is not an editing codec and video playback is jerky even at half the quality, and I don't have much space on ISIS, because right now I have two documentaries in the works and there are still ongoing works for the air. Besides, everything is shot in 50p. I asked for this in order to convert everything in the end into 50i, which will go on the air. Thus, my choice is DNxHR LB* codec while maintaining the original frame rate. And I was glad to find this channel, to which I have now subscribed, and this lesson to check if I am doing everything right.Thank you.
* Since I'm on Windows 10, HP Z8 G4
Let me add that the transcoding process inside Avid can take quite a long time. Therefore, transcoding in a third-party application may be a reasonable alternative. But it is necessary to check whether it will be possible to return to the original clips or at least their mirror in a higher quality than the proxy by re-linking the contents of the bins.
I would definitely recommend transcoding in DaVinci Resole. There is a video on the channel going through the process. I have shown in a couple of videos as well the process for relinking back to the originals
Here is the link to my video on transcoding in DaVinci Resolve. Easily the best way to make avid transcodes in my experience and what almost all DITs do.
Making DNx Proxies for Avid MC in DaVinci Resolve
ruclips.net/video/M8iL7w9BBsk/видео.html
you should have gotten the 8bit 420 file as a reference. i use the c200 in 444 raw all the time and just overwrite the interviews of the 420 with the 444 DCI grade it and render it all AMA linked playback is smooth
Nice video - I like how patient you are considering the hurdles that Media Composer puts in your way :) Have you done a video about Dynamic Relinking? I'm working with Interplay and indexers, and on our systems the relink function never works because there are no database files in the media folders and it's the indexers that keep the information about media. Dynamic relinking works if we have multiple resolutions on the server. The only problem with that, is when trying to export AAF to dynamically linked media - the AAF seems to be created with links to proxies that exist in the Avid Media Files folders and the export ignores the dynamic link info from the indexing service. Even though dynamic relinking is working and the video inlay is linked to the full res. The way I get around it, is to create proxies, and use the proxy as my target setting and dynamic link to that, but work with the linked clips on the master timelines so that when I switch back to hi res, the AAF is put out with links to the original camera media.
Haha no so much patience as much as it is being accustomed to how media composer thinks. So it all seems logical to me because of how I was trained.
Dynamic relinking isn't something I've ever used I must say. Is this a media composer enterprise function? Only had the "pleasure" of using Interplay once and I'm in no hurry to try it again. Wasn't fun! 😂
@@theavidassistant ha ha I know what you mean. We are just starting with UHD in MC. I’ve worked with the other NLEs quite a bit and the proxy workflow is easy. MC was confusing at first, because it still has legacy relinking, but your video was helpful. We use the 2020.12 ultimate MC, and dynamic relinking is strange, but it works well to relink to specific formats if you use the proxy setting in the format section - and that’s without copying meta in eg. Camroll for commonalty, the indexers take care of that. You have a working settings and a target settings that you can switch between and work with multiple resolutions and specific formats, so if you have UHD sources you can transcode eg. a network friendly HD proxy and just flip it to relink to linked UHD media and turn off proxy for output sharing/delivery or mastering hi res. Like everything it takes a bit of getting used to before the aaf links in other applications eg DaVinci. If you choose ’relink to camera media’ instead of auto, the media is offline. So it seems that the indexer is reliably inserting the correct paths in the aaf if I do it right in MC, and use auto in DV. I always do it that way with aaf from other sources, or other places where they run MC with the database files (rather than indexer service) so I thought I was doing something wrong at first. Still I found your channel - great stuff! . I’m happy now after a couple of attempts at back and forth, and dynamic relinking s one of the best functions in MC they have implemented for years I think. Although I do have a suspicion that Interplay is touchy and very static regarding updating the media indexer path when users turn on the dynamic linking in MC. It’s a lot of work to update the status of assets manually and if I don’t then the media might become orphaned and we have had issues with offline after deleting files on the same drives that the indexer considers not in use.
Amazing tutorial! I have a question about the "commonalities": In the demo, you are retaining the original camera-media file names (under CAMROLL) but not their file paths. Does this ever cause problems, for instance if there is more than 1 instance of the same filename among your footage? Is it ever neceseary to keep track of source filepath when making proxies and re-linking? How would you do that?
So I did once come across repeated file names and in that case we used a batch renamer utility to add a unique prefix to the beginning of every clip BEFORE brining it into avid or resolve.
Repeated file names can cause issues down the line, especially if there's also similar timecode in the clips. It doesn't really happen on TV or main feature film jobs but on small stuff like short films it can happen and so I'd fix it in the finder first.
The example we had was in every card the clips were just named
C001
C002
C003...
So we used the renamer to add a prefix to every clip of the camera card. So they all became:
A001_C001
A001_C002
A001_C003
Then the next card...
A002_C001...
That solved the issue for us :)
@@theavidassistant Thank you! I had the exact same issue (on a short film). Not only were there multiple instances of the same file name, but all timecodes started at 00:00:00:00 ! I was new at all this and only realized the problem just before handing the project over to online! (Is this when you'd say "eejit"?)
Haha yeah that will solve your issue (the prefixes) and you asked and solved the issue so you're no longer an Eejit 😂)
Hey Jack love the video's, Ive found then very helpful. Im into 7months on 3 part series, just relinking one of the episodes and I have a question re 'Group clips' do they relink in the same way or do I need to flatten the group clip in someway? that is to get back to the originally named camera clip?
Hey! So you don't have to flatten the group to relink. The clips in avid stay the same, what changes is the media they are linking to 🙂
@@theavidassistant thanks for the reply, so the group clips will retain the .new.01(G) even after relink.
@craigslattery3001 Ah no they will still be groups of the same media but will reference what you've relinked them to. If you made subclips and grouped those then they will have the exact same name. If you grouped the source camera files then the name will change.
@@theavidassistant Thanks Jack, I don't quite understand what you mean, I think I may have messed up, I followed your Proxy workflow, transcoded all the camera media and created the group clips from the transcoded media. When I relink, the groups don't appear to be linking back to the camera media. A video on this would be great! Thanks again the videos are brilliant.👋👋
@@craigslattery3001 Right so this video is purely to do with making transcodes and relinking. It doesn't cover standard processes within Avid for stuff like renaming or grouping clips. One rule of thumb I have is I never rename clips when they are brought in, even (especially) transcodes. I'll make subclips of those transcoded master clips and rename those. Benefit here is that you can relink the subclips (and any group clips / multi-cam made from them) to different media but the subclip name is preserved. Plus all metadata is protected as you've not renamed the master clips.
There's a series of videos in a playlist called AE100 on the channel. The section to do with sync'ing goes into this a good bit. But it's two long videos. For the benefit of explaining what subclips are, here's a short and simple sync'ing video that will show subclips:
ruclips.net/video/cIgpr5QRoKw/видео.html
Great video thanks Jack! A question I have is .. I think with Avid you should have project settings at whatever your final deliverable will be (or can I offline in a 1080p project for UHD footage as long as FPS are the same given they are both 16:9?). If I then create LB proxies via link and transcode should they stay at the deliverable raster dimension or can I downscale to say 1080p for the offline without an issue when relinking at picture lock? (I guess this is where frameflex comes in). Cheers.
Yup you certainly can do this! In fact that's standard practice! Almost every avid editing project I've ever seen was at 1920x1080. For offline edits that's the way to go. Just make sure your frame rate is set to what you'll deliver in.
It's only in an online editing project where you should have it set to your delivery resolution 🙂
@@theavidassistant Thanks for the reply! So the main thing to get nailed on from the start is delivery FPS, whereas resolution is always switchable back to cam masters at relink?
Exactly! In the AE100 series of videos I go through project set up quite a bit (I think I mentioned that there but now I'm doubting myself and will need to double check 😂).
@@theavidassistant Amazing cheers dude. Will check that series too... I've generally had these steps done by an AE on the docs I've edited so far but these are super important skills to have down so thanks for your very clear vids.
hey @everyone I have a basic question, why does people use DA VINCI for a proxy editing instead of transcoding straitght to AVID in proxy en then relink to media files for the final export? Thanks for your answers
So it's very common to make avid transcodes in DaVinci frankly because it's faster. Resolve has hardware acceleration and uses the GPU power where avid doesn't do either.
Plus on larger productions it's common to have custom LUTs / Grades applied to the rushes before transcoding which is better done in a grading tool like Resolve.
Plus a lot of the time it's gonna end up in resolve later for the grade anyway so it's a good test for ingest / conform.
It's also common that the transcoding on large productions is not done by anyone in Editorial. It's done by the DIT department on set and Resolve is a simpler and more intuitive tool for them to do transcoding in and transfer the transcodes to editorial since it's got a lot of functions built for that specific scenario.
Dude I just learned that avid has proper proxy workflow but only with the enterprise subscription, this transcoding and relinking is very old school, in other NLEs that was the old process as well, I recently worked in a tv show where strangely, they were using premiere, and with the proxies it was so easy. Have you worked much with proxies in other NLEs?
Certainly have. I have seen videos of the newer proxy process in Enterprise. I think I've mentioned it in some of my videos. However it's Enterprise only and won't be coming to the other tiers anytime soon unfortunately.
I can see ups and downs to both since in general I am a fan of things being more manual but in general Avid's media management does need a more modern update with never tools. Maybe eventually we will see the Enterprise features work their way down to Ultimate and standard.
@@theavidassistant I find it really annoying that Avid is doing that, there are other things that are also weird in Avid, simple things, like working with text or stills, of course once you use the software for a while it becomes "normal", but once you learn how the other ones work it just doesn't make much sense. I get that Avid is intended for long forms mainly, and I guess that's great when that's all you do, but in my case, I've been doing both, long and short form and I just wish I could have only one software, pay only one subscription or even better none at all (shout out to DaVinci).
The truth is that the editing tools are quite basic, cut and paste, all the other stuff around is extra, but when that extra stuff works well, it makes the process easier.
What downs have you experienced working with proxies? since I started using them on the other NLEs I have never gone back to the transcoding workflow.
Transcoding and using Proxies are essentially the exact same thing. Avid's way is just a bit more manual.
The downs involve a little less control when separating proxies from the source clips and I've seen it result in some lazy assistants once they get used to it and don't understand the depth of the various codecs, moving them around and relinking between different systems.
@@theavidassistant uhmmm, well I haven't considered the human error, I'd say that's on each individual, but you are right on that one. I'd say the difference between transcoding and making proxies is the workflow and I consider the proxy workflow to be easier, both get the job done in the end, so I guess it's up to each user. My original point was, that since Avid finally adopted the technology of proxies, it'd be nice to have it in the lower tiers.
It may come in time. Other Enterprise features have trickled down before. I'd say the main difference between the two is the connection to the master clip. Transcodes are proxies. Lower res versions to work with. The difference in other apps as I allude to in the video is the way they are handled in the bg and stay attached to the main clip. It is a lot more convenient in that you can simply create them in the bg and just toggle between them.
In the meantime I'm happy with the workflow as is. Mostly because I work in long-form and I encounter the source camera clips. Transcodes (proxies) are made on set and delivered for me to work with.
Other NLE's - Importing 👍🏽
Avid - Linking 😂👍🏽
So here's the way my post house does proxies.
We will all do a bin just for linking all of the clips, we then transcode all of the clips. Once the transcodes are done, we will delete the .new files. Unlink the pointer clips, then relink to the proxies in the avid media files folder.
To reconnect, we would make the cips offline, then in a new bin, we would bring the clips back in which would relink the existing masterclips.
Whatever works for ya! My personal favourite is a resolve transcode and not even connect the source camera files to an avid until online.
As long as there's a stable workflow for proxys, happy days!
Hey Jack! Thanks for the video. Just wanted to know how to do the relinking process inside Avid and Resolve when there's alot of VFX involved.
Hi Rishav,
So there's two types of VFX that I make my markers for going into online.
First is actually conform or DI notes. This is stuff like respeeds, keyframed resizes and Simple masking to remove boom mics and stuff. Generally you shouldn't have to do anything for for this. It should relink. You see at the end of the video when I bring it in Resolve gives a warning whenever there are effects that are not supported and those ones you'd re-do manually in resolve using notes and comparing to the source. This will be done by the online editors or the DI department at the facility.
The other type are proper VFX shots that range from everything from muzzle flashes to full CG creatures and those will be delivered to the online guys directly by the VFX vendors as .exr files and online will slot them into the edit.
Hope that answers the question!
@@theavidassistant That totally helped. Thanks! 😄
AVID CODECS 🔥
Hi, maybe i got lost, but what happened to the color correction on the timeline with the original files at the end? Do color effects made with proxys not transfer to the timeline with the original files?
Hey not sure what you mean. Just double checked the video and there was no colour correction on the clips on the timeline.
There was clip colouring (as in the colour the clip shows up as on the timeline and in the bin) but since the source clips and the proxy clips are seperate clips in avid. Seperate files, they would be assigned colours independently.
Hi, thx for the video but i've followed each step of this workflow but want I wanna relink it told me "No clips were relinked. Youn may want to select "All Alailable Drives"... Any idea of what can be the problem ?
It's difficult to diagnose without more info. I've done this for 12 years and haven't had an issue once so I trust in the workflow.
Are you directing it to the media in the relink window with the "selected items in all open bins"? Have you selected the metadata column you've used for commonality in the relink window? If you send me some screen grabs and details to my email at theavidassistant@gmail.com I'll do what I can to help :)
thx so much for so fast aswer ??? my source clips just went offline so i relinked them and everything worked very well !! thx again you're a legend mate@@theavidassistant
Hi Avid Assistant, I was wondering if you could give advice about linking to new proxies after editing with old proxies? Is it as easy as switching MXF files in Avid MediaFiles for the new proxies, and “hiding” the old ones? I made proxies in DNxHD LB and need to change them to DNxHD HQ. any advice is helpful!
Hi Michael! So as long as the commonality (tape name ideally) is there this should be an easy one. Simply remove the old proxies from the Avid MediaFiles folder and replace them with the new ones. Then delete the .mdb file in that numbered folder and let avid do a rescan of it. It SHOULD relink automatically as all the metadata and timecode will be the same.
We do this frequently as all transcodes are done by a DIT in Resolve and sometimes need to change the LUT or fix a transcode glitch.
Just don't delete the original ones when you move them out just in case there is an issue and you can put them back.
@@theavidassistant thanks I’ll test this out in my project! You are the best!
Thanks for the videos! What about transcoding footage in Resolve that has a lot of same names across the shoting days? (f. ex. C001, C002, C003 at day 1 and same source filenames at day 4), i am a bit afraid of "assisting using reel names" because reel names has still the same info. Is the REEL NAME the same as Avid TapeID? If so, why it cannot be changed from davinci level manually? What unique metadata column (in resolve) should i add before exporting files from davinci and ingesting them into Avid? Cheers!
Okay so first off, in the rare instances when that happens I first chastise the camera dept for stuffing up!
Then in terms of tape name / commonality I've got two options for you of how I would do it:
1 - create a new bin for each shoot day / reel and give it a unique name (DAY01_C001). Then in resolve change the "set reel name" to use the bin name in Resolve.
2 - You can add a prefix to the source files. This is option two as it depends on the camera you are using. Alexa / RED, no problem. Canon I'm not sure but may be fine (I'd test it first on duplicates).
Basically use a batch renamer to add a prefix to all the clips for each shoot day. So day01 clips would look like DAY01_C001 etc and once they are all renamed, run them through the usual resolve transcode method as is shown on the channel. I've used this a few times when duplicate names have appeared in projects.
Hope that helps!! 😊
@@theavidassistant Thank
you so much, love your vids!
Haha thanks Damian! Spread the word! ;)
Thanks for your tutorial. before you keep only the name in camroll ? you don't rensign the reel ? and you keep you're ama in a other bin ? friendly.
If you have camroll filled out there's no need to bother with the reel. As long as you have common metadata between proxy and source you are all good 👍
Can you make a video of roundtripping from Avid to DaVinchi resolve and when color grading is finished in resolve...how do you bring it back into avid?
How to link back the color graded footage back into the original Avid timeline.
Thanks in advance.
So most of that is probably covered in "The Proxy Workflow". Most recent video. I demonstrate migrating the picture to Resolve and describe how you'd bring the sound part of the timeline over.
In terms of coming back to Avid from Resolve. I can definitely cover that in a video soon :)
@@theavidassistant Thanks for the great work you do on this channel. It's much appreciated.
I really appreciate the comment mate. Truly!
I just AMA link from a very very fast m.2 drive..even 444 raw plays okay and 422 60 10 bit plays fine...most of this is old method thinking...would take months to do this on a full series or sitcom.
It's done pretty often on every large series I've ever worked on like Ash vs Evil Dead and Outlander. Only time I've ever worked with linked footage is on my own when I need to be quick.
Every professional job I've ever had has used proxies, including a sitcom for the BBC in 2022. You can have the fastest storage imaginable but if using avid I'd still rather have proxies as that's what it's built for. Plus most edit bays work off of network storage. Generally an Avid nexus so speed is at best 10GB Ethernet.
At the end of the day if linking works for you then awesome! Have at it. But this is an industry standard workflow used on just about every feature film and tv series around.
@@theavidassistant yeah...but i feel like youd be using massive storage each time (im workin with 43 tb of a docuseries) whenever I do this method it takes all day, doubles the storage etc... ama linking saves time..i wish avid did things properly tho ive been on it since I was 9 years old in 1997 so i refuse to learn another NLE lol
@Brett.Hatfield On scripted stuff there is a department for it. DIT. They transcode on set as they are shooting and as Editors we only get sent the transcodes. Never need to see the originals. Then post facility deals with it upon online turnover.
To each their own but I personally love this method for its reliability. Yeah more storage is required but if you have enough space for all the source material you already have a lot of space and DNxLB processes are a lot smaller. I came up at a post facility and then as an Assistant editor so I'm a big fan of processes and not having the software do stuff for me. But I'm all for everyone working however works best for them so again, if linking works well for you then go for it, I just don't see it at all as "old method thinking" especially how we are so often dealing with source files that are too big for the NLE to handle in a live edit with effects stacked (R3D RAW footage for example)
8:45 well now they have added it, really wonder how it works :)
Only for MC Enterprise users. They posted a video showing how it works but it's not available to the VAST majority of Avid users unfortunately :/
@@theavidassistant ah damn what, so it's needs NEXIS?
@jeremias3363 yup.
Call me a curmudgeon but this was called The Proxy Workflow in Avid Media Composer, right? You obviously don't particularly like Avid and I get that. But I started watching AS AN AVID EDITOR...not to learn about other proxy workflows from other NLE's. Your dislike of Avid really stopped me from going further after your Linking vs Importing diatribe. I amsure your a great AE, but why not retitle this The Effed Up Way Avid Does Proxies VS The Cooler Guys. Thanks...will find another non-irritating tutorial. (You do seem like a nice guy tho')
Whatever works for ya pal! If you don't like how I've presented the video / info by all means don't watch.
AS AN AVID EDITOR myself (moved on from assisting a while ago) the number one thing I get when I try to train assistants or introduce people to avid is confusion and complaints about Avid's ingest terminology. So if I'm going to make a video on the topic I have to address it. Especially since the majority of people watching will be newcomers to avid. Which is why I researched how other NLEs work for this video, to give people a way in to learning how avid does things. Relating to what they know.
I myself have never used Resolve or Premiere to cut. FCPX I've used a little but only for short and quick videos. I'm an avid guy. 11 years in editorial that's my NLE of choice and never used another one for work. Would rather not take a gig personally than cut on Premiere. Avid is what I know inside and out. If I "hated" it, why would I waste time making these videos? RUclips gives a very small payout of about £70 every few months so it ain't for money! 😂
It's to help people learn to use the NLE that I know and love. I must say I really don't understand your reaction (I'm assuming you stopped early on or during the "importing / linking skit" but hey, whatever works for you.
Both avid editors and newcomers have told me this is their favourite video on the channel and asked for more like it so the best I can do is go off that and hope that you learn what you came here to learn somewhere else that's more your tone. You could try freddylinks.com or the "let's edit with media composer" RUclips series that may be more your speed. No attempts at humour there :)
Great info as usual. I am lazy and use option drag to bring files from finder to avid bins instead of source browser. I set my link settings in advance. Then r click on clips in the bin/modify/set source/tape name and use the clips tape name in finder as my "commonality".
Thanks for watching Kenny!
Alt-drag is an awesome little feature and I do use it whenever I need to bring stuff in quickly but I have a soft spot for the source browser. Plus I figure if I'm gonna show people I should do it the "proper" way haha
I really wish that Avid had a setting to automatically dupe the source name into a "commonality" column. In fact there is one there in the link settings! But it doesn't bloody work!
👍
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