One important thing that is glossed over in this tutorial is at about minute 5 when the relinking process is about to begin. Be sure to highlight your proxy sequence in the bin before going to relink. If you don't the Disk Label option will not be available. That tripped me up for a moment until I realized what was going on. Thanks for this tutorial. Helpful now that I will be doing 4K finishing with 6K source files.
Thank you Adobe for making this process soooooo much easier in Premiere Pro. It’s basically a 1 mouse click operation to flip back and forth between the proxies and native media.
@@alicja177 under the preview monitor (usually the video on the right side) you can add the tool. Click the + sign and add the tool. I think it’s called toggle proxies.
I've been learning Avid and I've stumbled upon so many instances where a simple task in Premiere turns into an overly complicated workflow in Media Composer. You'd think the industry standard software has things figured out after all these years.
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?
@@philipkapadia1852 No, it isn't. It was added to the full resolution clips, and THEN the lowres proxies were made, that would also carry that metadata.
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
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!
Relinking issue. I deleted .MXF files but still have the original sequence and files on my disk. And I am not able to relink the files with the orig. sequence cause .mxf files are missing.
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
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?
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?
You can actually hide the AMA linked clips by doing: Bin > Set Bin Display > Uncheck Show Linked Master Clips. This way you can keep your bin organised without deleting files, you will only see the transcoded clips.
@@FloomGaming I have a lot of different frame rates, hence transcoding each frame rate in it's respective project, then copying those bins into a master project. When I bring those transcodes into my master project, do I need to also bring the AMA linked clips they came from? Or can I leave those in their project?
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
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?
Reese Truscott When you relink, highlight the clips in the bin you want to relink to,, add the sequence you want to be relinked to your selection, then use the “relink to selected items in all open bins” command in the relink dialogue (top left of the dialogue).
I'm on the same boat Reese. I learned Avid way back in film school but then worked with FCP 5-7 in the beginning and with Premiere since FCP X came out. Relearning Avid now and it has been a festival of headaches, errors, obstacles and Avid gotchas. Avid sure could learn a thing or two about making the app more intuitive and user friendly if they want to regain some of the territory lost in recent years to Premiere. It's extremely powerful and customizable and there are a lot of things to like over Premiere, but man it's one headache after another and they make even simple things hard to do. Relinking is a case in point. Relinking is such a breeze in Premiere and such a nightmare in Avid. Even when you follow all of the steps described in tutorials like these, something goes wrong. Things that have worked for me when I have problems relinking in Avid are to refresh the database in your media files folder, to offline the proxies by choosing "Modify-Unlink Media", choosing "Ignore Extensions" in the Relink window, and choosing to Relink to "Any Video Format" and Relink Method "Highest Quality". Also clapping your hands 7 times while looking at the ceiling seems to help...
I've had way harder to relink to or from Prores than DNXHD in Avid, that might be part of it (you probably have solved this by now, but if someone still wonders)
@@arsh0603 Pure editing if you can deal with all of its bizarre quirks and limitations, sure. I'll try and spend as much time as I can with a modern NLE that can handle demands and be intuitive.
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.
this does not work...😩....using a disc label is a fools errand....just use source file name...using disc lael lead to many errors in the relink sequence...file name worked just fine.....
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.
Some editors have actually paid to even get this information at a credible learning facility. Its amazing to me how so many people nowadays assume all information should be given away for nothing (aside from a view).
One important thing that is glossed over in this tutorial is at about minute 5 when the relinking process is about to begin. Be sure to highlight your proxy sequence in the bin before going to relink. If you don't the Disk Label option will not be available. That tripped me up for a moment until I realized what was going on.
Thanks for this tutorial. Helpful now that I will be doing 4K finishing with 6K source files.
It hard to understand, but so many trainers seem to unnecessarily mystify this process. I finally get these fundamentals. Thanks for the article.
Thank you Adobe for making this process soooooo much easier in Premiere Pro. It’s basically a 1 mouse click operation to flip back and forth between the proxies and native media.
Could you tell my how to flip between proxies and native media in premiere?
@@alicja177 under the preview monitor (usually the video on the right side) you can add the tool. Click the + sign and add the tool. I think it’s called toggle proxies.
@@mschocker77 oh, perfect, thank you so much! :)
I've been learning Avid and I've stumbled upon so many instances where a simple task in Premiere turns into an overly complicated workflow in Media Composer. You'd think the industry standard software has things figured out after all these years.
Good stuff! Adding the Disk Label is key especially if the clips are named the same on each respective card.
Great idea. That makes perfect sense.
Would love to see some tutotials about linking in an Interplay environment because it never seems to work the same.
Just checking in to see if I've forgotten anything Corey. Thanks!
Very thorough tutorial and yet, simple.
Thank you.
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?
It's a mystery
No, it wasn't. It was added to the full resolution clips, and THEN the lowres proxies were made, that would also carry that metadata.
@@philipkapadia1852 No, it isn't. It was added to the full resolution clips, and THEN the lowres proxies were made, that would also carry that metadata.
@@philiptimm2617 Thank you. I wasn't sure by linking that new metadata would carry through to the transcodes.
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
Why do you make the proxies in 4k? I'm trying to figure out if that's better than making them HD?
Thank you. What if I want to relink audio as well? It only seems to link video but not the audio.
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!
If my image looks grainy because I transcoded at low resolution and I accidentally formatted my sd card, how do I fix that?
Relinking issue. I deleted .MXF files but still have the original sequence and files on my disk. And I am not able to relink the files with the orig. sequence cause .mxf files are missing.
does batch re-import work for graphics in MC2021 ?
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
THX so much it very helpful.. Thailand
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?
Thank you!
Can one link original media files to transcoded DNXHD media files that were created outside of Avid?
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?
You can actually hide the AMA linked clips by doing: Bin > Set Bin Display > Uncheck Show Linked Master Clips.
This way you can keep your bin organised without deleting files, you will only see the transcoded clips.
Thanks a lot, it's helpful...
@@FloomGaming I have a lot of different frame rates, hence transcoding each frame rate in it's respective project, then copying those bins into a master project. When I bring those transcodes into my master project, do I need to also bring the AMA linked clips they came from? Or can I leave those in their project?
Any explanation for why this is that complicated? All of this is just one button in literally All other existing editing softwares.
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
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?
Reese Truscott When you relink, highlight the clips in the bin you want to relink to,, add the sequence you want to be relinked to your selection, then use the “relink to selected items in all open bins” command in the relink dialogue (top left of the dialogue).
I'm on the same boat Reese. I learned Avid way back in film school but then worked with FCP 5-7 in the beginning and with Premiere since FCP X came out. Relearning Avid now and it has been a festival of headaches, errors, obstacles and Avid gotchas. Avid sure could learn a thing or two about making the app more intuitive and user friendly if they want to regain some of the territory lost in recent years to Premiere. It's extremely powerful and customizable and there are a lot of things to like over Premiere, but man it's one headache after another and they make even simple things hard to do. Relinking is a case in point. Relinking is such a breeze in Premiere and such a nightmare in Avid. Even when you follow all of the steps described in tutorials like these, something goes wrong. Things that have worked for me when I have problems relinking in Avid are to refresh the database in your media files folder, to offline the proxies by choosing "Modify-Unlink Media", choosing "Ignore Extensions" in the Relink window, and choosing to Relink to "Any Video Format" and Relink Method "Highest Quality". Also clapping your hands 7 times while looking at the ceiling seems to help...
I've had way harder to relink to or from Prores than DNXHD in Avid, that might be part of it (you probably have solved this by now, but if someone still wonders)
How do you relink audio? I want to switch from Premiere to Avid but the software is very hard to learn.
Trying Resolve now and liking it very much.
As long as features are cut on Avid, it will remain on Avid.
in Next 5-7 years Avid is even better and Resolve more clunky due to adding TABS TABS and lots of TABS
Avid is for storytellers, pure editing.
@@arsh0603 Pure editing if you can deal with all of its bizarre quirks and limitations, sure. I'll try and spend as much time as I can with a modern NLE that can handle demands and be intuitive.
I love avid a lot than the other stupid softwares, like Adobe. I'm using Avid since 2015
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.
this does not work...😩....using a disc label is a fools errand....just use source file name...using disc lael lead to many errors in the relink sequence...file name worked just fine.....
Why make it simple when we have Avid
what the hell is a card?
Camera card, like a SD card
Ah, thanks!
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.
Some editors have actually paid to even get this information at a credible learning facility. Its amazing to me how so many people nowadays assume all information should be given away for nothing (aside from a view).