19 پاسخ به “نکات و ترفندها: گردش کار پروکسی و Relinking”

  3. I transcoded multiple files with the same names, put them in different folders in the Avid Mediafiles – MXF folder and edited them. Now it's time to conform everything in Da Vinci Resolve and it's obviously a huge mess. Wrong clips are relinked and I cannot find a way to make the software relink the correct files. Is there a way to insert the Card name inside the Avid and let Da Vinci find the correct files through it? Please, I'm desperate!

  6. If I want to transcode to a DNxHD flavor, does it affect the relinking process if I chose "Convert to project frame rate", even if the footage is the same frame rate as the project?

  7. I'm not sure if I ruined the way the relinking to original media process works for my film. I'm wondering if you could help me.

    1: I created proxies of raw Black Magic DNG files. Then I trans-coded those proxies.

    2: I synched them to the audio files using Autosynch and in points.

    3: I edited my Locked Picture.

    4: Now I converted the RAW DNG files to DNXHD 4:4:4 10 bit and linked them to a separate bins.

    5: I tried relinking to bin, trying different options and I keep getting No clips were relinked.

    Let meknow if there is any way I can salvage this.

    Andres R

  8. How does Disk Label help in Relinking to the HighRes files…that metadata was plugged in for the LowRes Proxies. Where would Avid find that metadata when looking at the HighRes media?

  10. Hi, I was worried to know about this Proxy Workflows and relinking, thanks so much for this video. could you let me know how we can attach audio, coz the timeline you made has no Audio, and you exported it without Audio, how we can attach audio with our High Ress timeline? Regards

  11. Thanks for the tutorial. I'm a first time AVID user, long term Final Cut/Premiere user and I am struggling badly with this. I've followed your tutorial step by step and when I relink it creates a new sequence but just doesn't relink to the original media as it does in your video. I linked AVC Long-GOP High422 .mov files and then transcoded to Apple ProRes 422(Proxy). All that works fine but I do not understand why it will not connect the original movs after using this process. Any tips anyone please?

  13. I wish you would give a logical overview of WHY you are doing what you are doing? Why do you make a disk label? What is a disk label? Discribe the path from Camera Original, and copy to hard drive. What are the naming conventions and logical paradigms for organizing and managing the original material and how Avid Gets to it and edits with it, and how Avid hands off to something like DaVinci, and how DaVanci looks through the Avid edit software and its logical structures to get back to the Copies? of camera original. Your tutorial rattles through what you are doing and clicking, with NO LOGICAL FRAMEWORK of the WHY YOU ARE DOING THEM!!! What logical control and information chains are you preserving to hand off between the domain of Camera Original, Avid Edit, and Color Finishing and Deliverable Generation.

  15. Interesting. I'm a big proponent of Tape names in other circumstances, this appears to be the equivalent for file-based material. But answer this: how does it apply when we don't have a card structure, that is the files are simply a bunch of files. Just use DiskLabel to group them in a similar way? They don't need to be segregated into different folders, which I see is mostly to maintain the integrity of how they were recorded throughout post.

  18. Hi Corey! I got a question. Does it still work if we add disk labels and after transcoding we delete AMA master clips from the bin? So only transcode-clips in the bin Card A, B, and C and then relink back to the original master clips. Is it a must to keep AMA master clips in a bin with transcode-clips?

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