DPX conform

Hello-
I am working on a DPX conform using Final Cut Pro. The offline was edited in Final Cut Pro in 29.97. The EDL was converted to 24fps and scans were made of the film to DPX files with 8 frame handles. I used the Automator to automate the AJA DPXtoQuicktime converter to change all the DPX sequences into reference movies. All the files have the shot names with the ".mov" extension now.
The problem now is when I go to reconnect the media I am getting an error message that the file I am connecting has different Reel information, Rate and sometimes the media is not as long as before. I can connect one shot at a time and the shots are coming in correctly but I can't seem to do all the files in one fell swoop due to this error message.
Does anyone have any ideas to work around this problem?
Thanks!
Eugene

I have this sometimes with PAL 24 at 25 projects with cinema tools conformed clips. I close the project and then re open it. When the reconnect message appears it says some shots have different length etc but continue will reconnect all in the list, i think. (from memory)
John

Similar Messages

DPX Conform PROBLEM

Hi,
I'm new to Color (no FT experience), but according to manual one should be able to import an edl and link to dpx files with header timecode.
But...it doesn't work, at least not for me.
I have an edl in CMX format exported from AVID (35mm onelight offline). I have dpx scans scanned according to that same edl.
When I import edl and browse to dpx source files, no footage imports. There are just placeholders on Color timeline. Trying to reconnect dpx files, but no luck. Actually there is no error dialog, nothing at all. No error log...
I have tried renaming dpx files to "reelname.framenumber.dpx", renaming folder, etc. No help. I've double checked timecodes in edl to timecodes in dpx's headers.
Is anybody here familiar with the dpx workflow? Can you help?
Vladus
Mac Pro Mac OS X (10.4.9)
Mac Pro Mac OS X (10.4.9)

I have this sometimes with PAL 24 at 25 projects with cinema tools conformed clips. I close the project and then re open it. When the reconnect message appears it says some shots have different length etc but continue will reconnect all in the list, i think. (from memory)
John

Color Importing a 24fps EDL as 23.98 when conforming from DPX Sequences

I'm trying to do a DPX conform in Color and I am having some issues with importing my EDL from FCP. I have 2k 24fps DPX files, from which I created 720p 24fps ProRes quicktimes to do my offline edit. My offline edit is now complete and I'm looking to conform from the DPX files.
I exported my EDL from Final Cut. When importing my EDL in color I make sure that "Project Frame Rate", "EDL Frame Rate", and "Source Frame Rate" are sll set to 24. It links to the correct DPX files, however no matter what I do the project setting is set to 23.98 not 24fps. The sequence looks fine inside Color, however when I send it back to Final Cut there are frames missing. All the clips start at the correct timecode, however some are missing 4-5 frames on the tail end.
I saw on this forum that someone had the same issue about a year ago, and doesnt seem like it has been solved.
Any Ideas?!?!
Thanks.

Read this: http://www.cinematography.com/index.php?showtopic=16732

Conforming EDL from DPX in Color

Hi,
I know I can import DPX into color quite easily but my problem is conforming EDL from DPX files.
Anyone was succesfull in doing this?
Thanks
Kamil

Yes. Many people are successful doing this, but not usually on the first attempt.
There are many pitfalls. Essentially its a lot like importing an EDL "Use as Cut List", but there are a lot of rules about how the dpx was created, header information (including timecode matches, etc.), and a number of other things. I don't find the Manuals particularly enlightening, but the topic is covered.
jPo

Conforming DPX files on FCP

After offlining with one light telecine on FCP, I got the project and DPX 2k scans.
The DPX are 10bit log RGB with the same time code than the one light transfer.
Are there any ways of "auto conform"? The output master is meant to be PAL, but we have 2k becouse some frame resizing is needed.
any clues?
cheers
joan

Hello, Ok...when you finish a project on FCP and save it(not exporting it
just yet). Can you get rid of all the original capture video? Because what
I do is I capture the whole tape then I run through it and do kinda like
sub clips...So after I am done can I get rid of that whole tape I first
captured?
Absolutely not.
Wha?! I'm sure someone has some logic in telling you not to trash your media files, but it is logic beyond me. I'll offer a counter.
If your media is from timecoded sources, tapes that you can go back to, tapes that can be batch captured, then that media can be blown away when the project is finished (really finished, wait for the check).
When you come back to the project (let's all pray you don't have to), just Batch Capture the offline master clips. You'll be good.
For media elements that are not on tape (files from After Effects, Photoshop, Illustrator, etc), you should archive those media files too, since you can't batch capture them.

Conformed DPX sequence?

Hi there folks,
I'm editing a music video next week and the client has asked for it delivered to them as a conformed DPX sequence with EDL....
Eeeeek.
An EDL should be easy enough, but a conformed DPX sequence, that's me lost...
Can anyone help? Can I do this through FCP?
Thanks,
Matty

that's usually for a film recorder. It is going to film output?
You can do a DPX sequence out of Compressor, if that helps.
in the compressor inspector panel change Quicktime movie to Image sequence
http://dl.dropbox.com/u/129533/changeQTmovie.png
then select DPX.
http://dl.dropbox.com/u/129533/select_dpx.png
See if that's what they want. I'd do a short test first.

Conforming project to dpx sequences

Hi there,
I have an advert I've cut in premier cc and had graded professionally - Ive had dpx image sequences given back to me . Is there a straightforward way to get premier to relink to these sequences?

OK, I chatted with Adobe and after they got back to me via email, here's what they wrote:
"Hi Sami,
This is Adobe Technical Support.
We are responding in reference to your case# 0185837302 regarding the Adobe Premiere Pro, I researched the issue and found out that the issue is reproducible on our end.
I have reported the issue to the higher level of support team. They will research on this issue and will try roll out a patch update to fix it."

Conform from edl, replace mov with color graded dpx seq

Hi all,
I successfully import the edl from FCP to PPro with the correct in and out points for each clip.
The source files of that FCP edit are .mov, but now, I need to replace all the .mov in my bin with color graded .dpx sequence.
I tried both right click > replace footage, and right click > link media to try linking it to .dpx, but I can only link it to a single .dpx file instead of a dpx sequence.
Is is possible to do that on PPro?
Thanks
(sorry for my bad english)

Hi all,
I successfully import the edl from FCP to PPro with the correct in and out points for each clip.
The source files of that FCP edit are .mov, but now, I need to replace all the .mov in my bin with color graded .dpx sequence.
I tried both right click > replace footage, and right click > link media to try linking it to .dpx, but I can only link it to a single .dpx file instead of a dpx sequence.
Is is possible to do that on PPro?
Thanks
(sorry for my bad english)

Trouble importing an XML that uses DPX sequences

We are doing an offline edit using a DPX sequence. We're testing now to ensure that an XML of the sequence when we're done will work. (Our DPX is in HD, and the online house will be taking a 4K DPX version of the same piece - identical except for the resolution - for the online.) However, when we start up a new project and import the XML to test it out, it isn't making the edits to the DPX sequence that we made. Everywhere there is an edit, it just starts the DPX sequence at the beginning again. This is the same exact HD DPX sequence that we used when we made the edits.
Here is the original project:
http://img607.imageshack.us/img607/1802/i2ht.jpg
Here is what it looks like when we create an XML from that project and import it into a new project:
http://img14.imageshack.us/img14/6389/swfw.jpg
The text block you see in the thumbnail for the videos in the sequence is the slate at the top of the DPX sequence, so you can see that it's just starting at the beginning of the DPX sequence every time there's a cut. What should we be doing differently?

My apologies Jim. My understanding - which was probably incorrect - was that the XML schema that was in use by FCP7, which has since been implemented for use in Smoke, Resolve, Premiere, etc., was developed by Apple. Thanks for educating me!
XML as currently coded cannot convey sequences created from image-sequence-based media.
What has been an issue for me and a few others, which may be in play here, is relinking to media coming from a third party grading session. Smoke, Hiero, Resolve, SpeedGrade can all conform DPXs to an EDL or XML using timecode (independent of reel name, clip name, etc) while Premiere as yet does not. Premiere's relinking struggles if there's any disparity between the source file names and the file names it's relinking to. It would be great to see some more flexibility there, such as timecode-based relinking coupled with optional fields for partial clip name and partial reel name relinking.
Since the original post refers to a third party vendor doing the finish on the project, simply relinking in Premiere may not be an option. If the vendor in question is going to be conforming in either Smoke, Flame or Hiero, just sending an EDL over will just about guarantee a successful conform. I'd contact them and find out what they prefer.
Cheers!
Jon

Export to DPX Image sequence and keep master clip timecode?

hi guys, shane i hope your out there!!
i need to export (1920x1080i/50) pro-res master conform clips to DPX Image sequence for external grade, every time i've tried it exports fine, but each clips has a default timecode starting from 00..., i need to maintain original t/c as grade is external and i will be recieving files back for re-conform and online etc. i have less than 1 hour to give answers to producer, this is the first time we've used this workflow, i really want it to work as this is what guys like us wake up in the morning for, i'm sure there must be something simple i'm missing. i have a tape ready for a lay off as precaution but i really dont want to be defeated !! i'm using glue tools plug-ins any help would be much appreciated. please help me.
regards.

i've had to manually override timecodes on export, not at all ideal and tedious as ****, please tell me there is a simpler way of doing this, this plug is supposed to make your life easier, any feedback/advice greatly appreciated.

Workflow Q's (.DNG, DPX, AE, Resolve)

I've done two projects now in Premiere, and think it's a great piece of software. However, I'm finding the finishing stage of the workflow to be super tedious and I'm wondering if I'm doing something wrong, or if there is an easier way to go about it.
1. I work natively in Premiere with cinema .dng's. 2.5K resolution.
2. Edit, and use effects such as comp, stabilization, pan/tilt, blending modes etc. Sometimes I use "Replace with After Effects Comp" (cinema .dngs don't currently work with this function, but supposedly it's being fixed)
3. Lock edit. Prep sequence for Resolve - remove resizing, effects etc. in order to have all of the image in Resolve. Output XML.
4. Color in Resolve. Output 16-bit DPX at full resolution
5. XML does not support DPX, so I manually place footage into sequence. This is doable for minute long videos, but for longer form content it doesn't seem ideal. Conform 2.5K shots to 1920x1080, reapply affects etc.
6. Any shots that were sent to AE via 'replace function' I then separately output from Resolve and manually 'replace footage' in AE.
For step 5, it would be great to use the 'replace footage' option in Premiere but I can't as sometimes a single clip will be used multiple times throughout a sequence and Resolve outputs multiple clips for that one shot.
Obviously this would be easier if I used a compressed format id'd by XML, but I want to retain as much image quality as possible before the effects, panning, resizing etc. are rendered.
The stage going from Resolve back to Premiere (or any other software) is the part that is very time consuming, and sometimes not perfect. I guess I'm looking for advice on how to make this process more manageable, or if this is simply the nature of the beast.
Also, is XML a static operation or will it be updated to support image sequences such as DPX and more effects.
Thanks!

the best way to get footage back into premiere is to have it replace the original footage in the sequence timeline. this is normally done with "make offline" and "relink". doing this transfers any effects and transitions to the new clips. the breakdown in this workflow is the relink in premiere. even with the update to the relink options adding the ignore file extension option in premiere, it doesn't automatically link others when relinking. when i use cinemadng's in premiere it uses the image sequence as part of the file name, this breaks any chance of an automatic relink.
the only easy option i know to get this relink to work is to use proxy files generated in resolve for the edit. then after color grading render out individual clips again, just like when making the proxies. the difference is instead of using dpx, this requires using a format such as the quicktime uncompressed, cineform, or dnxhr that will be a single file. then premiere will be able to relink to these color graded clips, and will keep all your effects in place. you can even swap out proxies for the color graded by renaming the folders they are in, instead of the relink option in premiere. if you aren't satisfied with one of those codecs vs dpx, this wont be a solution. since its being rendered after the color grading, the quicktime uncompressed 10-bit might be good enough for you? you can still render separately the AE clips in dpx or tiff if desired... to use cineform in resolve i believe you have to purchase it, and adobe doesn't yet support dnxhr so thats not an option at this time.
another option, if you use the majority of you footage is to do primary correction in resolve first and export to dpx. then use the dpx to edit in premiere, do your AE comps, and speedgrade to polish off corrections and apply a grade. never to return to resolve... this will keep you from fighting premiere's relink with the resolve roundtrip. as neil points out, speedgrade with dynamic link saves much of the headaches. for the best performance, don't apply any effects until after done with speedgrade. speedgrade is a decent program, but if you are use to resolve you may find it lacking.

Numbered DPX read in Color 1.0.4

Apple Color ver. 1 through 1.0.3 could bot read DPX sequences which had numbers as names. So files like UCC_910885.dpx through UCC_910985.dpx would be a sequence, but 910885.dpx through 910985.dpx would not.
Thant's been fixed in 1.0.4. Even the limit for numbers to be at least 7 digits has been removed.
Now to check if conform works with this new feature.
Neil

Color 1.0.4 isn't supported on Mavericks. That's 6 year old software on an OS that Apple made without making sure that FCP Legacy worked on it. Zero testing.
Solution...back up your files, reinstall the OS that works best with Final Cut Studio 2, then install all your apps. If you use this software to make a living, don't update the OS unless it is fully supported.

EDL not conforming

I created an EDL in Premier and opened it in SG. After about 10 attempts I finally found the 5 or 6 places you have to change the frame rate - why not just get it from the EDL! Anyway, I go to the desktop and find my files, but SG will not add the reels from the destop automatically or manually. I double checked the help file and tried several times but they will not load. What am I missing?

I was exagerating a little, but after I changed the playback setting and imported the EDL it changed it to 60 again. It took about 4 times importing to finally get the right. I still get a warning message that the frame rate is wrong - even though it is correct. I think the problem may be stemming from the fact that I am trying to conform from files and the reel names are missing. The file names are correct, but I don't think SG is looking at that.
I guess this is a little tough to see, but the DPX sequences are there in the bin and SG doesn't load them. I also get an error "Key not supported in edit 6" when I try to import one of the edls from Premier. Here is the EDL with the error:
TITLE: BB_Firetruck_03_V1
FCM: NON-DROP FRAME
FCM: DROP FRAME
001 UNKNOWN AA    C        00:02:31:23 00:02:46:24 00:00:00:00 00:00:15:01
* FROM CLIP NAME: BB_2012_B_102.m2t
FCM: NON-DROP FRAME
002 UNKNOWN V     C        00:02:31:19 00:02:46:19 00:00:00:00 00:00:15:00
* FROM CLIP NAME: BB_2012_B_102.m2t
003 UNKNOWN V     C        00:02:46:19 00:02:46:19 00:00:15:00 00:00:15:00
FCM: NON-DROP FRAME
003 UNKNOWN V     D    003 00:02:51:01 00:03:00:07 00:00:15:00 00:00:24:06
EFFECTS NAME IS CROSS DISSOLVE
* FROM CLIP NAME: BB_2012_B_102.m2t
* TO CLIP NAME: BB_2012_B_103.m2t
FCM: DROP FRAME
004 UNKNOWN AA    C        00:02:51:06 00:03:00:13 00:00:15:01 00:00:24:06
* FROM CLIP NAME: BB_2012_B_103.m2t
005 BB2012B0 AA    C        00:03:10:24 00:03:29:27 00:00:24:06 00:00:43:09
* FROM CLIP NAME: PinkLady_Ribbons.mpeg
* AUDIO LEVEL AT 00:03:10:28 IS -0.23 DB (REEL BB2012B0 A1)
* AUDIO LEVEL AT 00:03:28:17 IS -0.71 DB (REEL BB2012B0 A1)
* AUDIO LEVEL AT 00:03:28:22 IS -99.99 DB (REEL BB2012B0 A1)
* AUDIO LEVEL AT 00:03:10:28 IS -0.23 DB (REEL BB2012B0 A2)
* AUDIO LEVEL AT 00:03:28:17 IS -0.71 DB (REEL BB2012B0 A2)
* AUDIO LEVEL AT 00:03:28:22 IS -99.99 DB (REEL BB2012B0 A2)
006 BB2012B0 V     K B      00:03:10:24 00:03:30:02 00:00:24:06 00:00:29:07
FCM: DROP FRAME
006 UNKNOWN V     K    000 03:00:34:09 03:00:39:10 00:00:24:06 00:00:29:07
* FROM CLIP NAME: PinkLady_Ribbons.mpeg
* KEY CLIP NAME: BB_FireTruckClips_CC_0301.dpx
007 BB2012B0 V     C        00:03:10:24 00:03:15:25 00:00:24:06 00:00:29:07
* FROM CLIP NAME: PinkLady_Ribbons.mpeg
007 BB2012B0 V     K B      00:03:15:25 00:03:30:02 00:00:29:07 00:00:34:02
FCM: DROP FRAME
007 AX       V     K    000 00:00:05:04 00:00:09:29 00:00:29:07 00:00:34:02
* FROM CLIP NAME: PinkLady_Ribbons.mpeg
* KEY CLIP NAME: BB_Ribbons_CC_0000.dpx
008 BB2012B0 V     C        00:03:10:24 00:03:20:20 00:00:24:06 00:00:34:02
* FROM CLIP NAME: PinkLady_Ribbons.mpeg
008 BB2012B0 V     K B      00:03:20:20 00:03:30:02 00:00:34:02 00:00:38:16
FCM: DROP FRAME
008 UNKNOWN V     K    000 03:01:04:26 03:01:07:03 00:00:34:02 00:00:38:16
* FROM CLIP NAME: PinkLady_Ribbons.mpeg
* KEY CLIP NAME: BB_FireTruckClips_CC_0301.dpx
009 BB2012B0 V     C        00:03:10:24 00:03:25:04 00:00:24:06 00:00:38:16
* FROM CLIP NAME: PinkLady_Ribbons.mpeg
009 BB2012B0 V     K B      00:03:25:04 00:03:30:02 00:00:38:16 00:00:43:14
FCM: DROP FRAME
009 AX       V     K    000 00:00:14:13 00:00:18:01 00:00:38:16 00:00:42:04
* FROM CLIP NAME: PinkLady_Ribbons.mpeg
* KEY CLIP NAME: BB_Ribbons_CC_0000.dpx
FCM: NON-DROP FRAME
Here is the one that loads saying the frame rates don't match:
TITLE: BB_Firetruck_04
FCM: NON-DROP FRAME
001 BL       V     C        00:00:00:00 00:00:01:15 00:00:00:00 00:00:01:15
FCM: DROP FRAME
002 UNKNOWN AA    C        00:02:31:23 00:02:46:24 00:00:00:00 00:00:15:01
* FROM CLIP NAME: BB_2012_B_102.m2t
FCM: NON-DROP FRAME
003 UNKNOWN V     C        03:00:00:00 03:00:13:05 00:00:01:15 00:00:14:20
* FROM CLIP NAME: BB_FireTruckClips_CC_0301.dpx
004 UNKNOWN V     C        03:00:43:27 03:00:46:23 00:00:14:20 00:00:20:12
* FROM CLIP NAME: BB_FireTruckClips_CC_0301.dpx
M2   UNKNOWN 015.0                      03:00:43:27
FCM: DROP FRAME
005 UNKNOWN AA    C        00:02:51:06 00:03:00:13 00:00:15:01 00:00:24:06
* FROM CLIP NAME: BB_2012_B_103.m2t
FCM: NON-DROP FRAME
006 UNKNOWN V     C        03:00:18:27 03:00:22:12 00:00:20:12 00:00:23:27
* FROM CLIP NAME: BB_FireTruckClips_CC_0301.dpx
007 UNKNOWN V     C        03:00:23:06 03:00:28:16 00:00:23:27 00:00:29:07
* FROM CLIP NAME: BB_FireTruckClips_CC_0301.dpx
FCM: DROP FRAME
008 BB2012B0 AA    C        00:03:10:24 00:03:29:27 00:00:24:06 00:00:43:09
* FROM CLIP NAME: PinkLady_Ribbons.mpeg
* AUDIO LEVEL AT 00:03:10:28 IS -0.23 DB (REEL BB2012B0 A1)
* AUDIO LEVEL AT 00:03:28:17 IS -0.71 DB (REEL BB2012B0 A1)
* AUDIO LEVEL AT 00:03:28:22 IS -99.99 DB (REEL BB2012B0 A1)
* AUDIO LEVEL AT 00:03:10:28 IS -0.23 DB (REEL BB2012B0 A2)
* AUDIO LEVEL AT 00:03:28:17 IS -0.71 DB (REEL BB2012B0 A2)
* AUDIO LEVEL AT 00:03:28:22 IS -99.99 DB (REEL BB2012B0 A2)
FCM: NON-DROP FRAME
009 AX       V     C        00:00:05:04 00:00:09:29 00:00:29:07 00:00:34:02
* FROM CLIP NAME: BB_Ribbons_CC_0000.dpx
010 UNKNOWN V     C        03:00:54:00 03:00:56:07 00:00:34:02 00:00:38:16
* FROM CLIP NAME: BB_FireTruckClips_CC_0301.dpx
M2   UNKNOWN 015.0                      03:00:54:00
011 AX       V     C        00:00:14:13 00:00:18:01 00:00:38:16 00:00:42:04
* FROM CLIP NAME: BB_Ribbons_CC_0000.dpx
Thanks

Conform from edl

Hi all
I'm trying to use premier in a DI workflow.
I imported an EDL from Avid, and want to reconnect it to an image sequence. Is that at all possible? I can Also live reconnecting it to a QuickTime or AVI file, but I can't seem to get it to work.
I can't set a new time code to an image sequence (I need to match the time code to the one the EDL requests), and If I import a file, I can set a new time code on it but can't reconnect to the EDL.
Is there a solution for this?
thanks.

In my experience, no, there's no easy solution with PPro. It doesn't support any kind of file-based conform. It doesn't see TC in file sequences and you can't assign TC after import. My experiences with AVI/QT files are the same as yours. There aren't a whole lot of choices out there to do this though. The only box I've personally worked on that has file sequence conform nailed is Quantel's eQ, but it's $$$. It can read TC embedded in DPX files for instance and conform to a EDL or AAF from Avid. Or keycode list for that matter.
When I have had to do this in the past with PPro, I had to eye match each cut (painful) but luckily it was only two 1 minute-ish videos with about 30 cuts each, so not the end of the world. I wish I had better news/solution for you and maybe someone else does. I didn't have time to work out any other better solution for PPro workflow myself at the time. I did consider AE, but it too does not see any kind of clip TC metadata that's useful.
-Troy Murison
Seattle, WA

DPX header indicating incorrect size

I have an Arri Alexa sequence that I'm exporting to DPX for Resolve (long story short, Speedgrade is great for conforming reels but the project is going to a different vendor for color).
Under export settings I have "Full Frame (no proxy)", "1:1 (square)" and "Same Size as Proxy" for framing. Resolve incorrectly states the frame size of the sequence as something like 600x450 while Premiere will bring in frames as 1080hd. If I change "Same Size as Proxy" to 1080p, the issue is gone.
I was always under the assumption that "Same Size as Proxy" would be the native frame size since I also have "Full Frame (no proxy)" selected.

Brent sent me the testfiles per mail.
the sizes are as expected. We follow the official riff specification that requires the RIFF chunks to be WORD aligned by adding a padding byte to odd length data. This byte is not included in the chunk Size. You have to skip a byte if you find an odd chunksize.
GFF Format Summary: Microsoft RIFF from an O'Reilly book:
"ChunkData contains data that is WORD-aligned within the RIFF file. If the data is an odd length in size, an extra byte of NULL padding is added to the end of the data. The ChunkSize value does not include the length of the padding."
AVI RIFF File Reference from the Microsoft site:
"The data is always padded to nearest WORD boundary. ckSize gives the size of the valid data in the chunk; it does not include the padding, the size of ckID, or the size of ckSize."
Spec: http://www-mmsp.ece.mcgill.ca/documents/audioformats/wave/Docs/riffmci.pdf
I hope this helps,
Samy
Adobe Systems

DPX conform

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