I'm working on a feature film and I have a question about relinking AAF to mp4 material.First let me explain the steps I took:
-source material mp4 files from camera
-transcoded to .mov files so we could use it in Avid
-export AAF from Avid.
-imported all the source clips (mp4 files) with the gateway into Smoke
-imported the AAF file
-put the AAF file in same reel as mp4 files.
-choose Tools/Unlink/Relink and enabled 'Use Clip Name' and Use Timecode.
The problem now is that all the clips are getting linked by timecode only.I discovered that it's because the clips used in avid are .mov files that I want to relink to the mp4 files.
Is there a workflow to substitute the .mov for mp4 in Smoke somehow?I hope there is because now I have to do a lot of manual work (and there is not enough time for)
I am investigating best practice workflows for a feature length project shot on 2 Red Epic cameras and editing was done in Final Cut. I need to grade and finish the movie along with many other finishing requests like screen replacements, set clean up involving tracking and many other common DI requests and fixes. I use Resolve for most Grading but since there are so many FX shots that need work I was contemplating keeping everything in Smoke so I can make adjustments to the grade and FX in context of the whole edit.
Is this advisable for a 90 + min edit with Red footage? It might be doable but is it feasible meaning would performance be very sluggish? I have a 2009 Mac Pro, 24 GB RAM, 8TB RAID, RedRocket and Quadro 4000 card.
Would I be best off having the editor break the movie up into 10 - 12 minute sequences and then import each XML as its own sequence into one Smoke project?
If I import the Red footage at half res, because of performance, I am only using half of the info in the file. I have a RedRocket so should I import full res 4K to get maximum quality? Then let Smoke do a resize to 2K which is the final deliverable format? I figured that might be best for doing resizes and for sharpness.
If I work with proxies would all of my tracking and paint work be valid when I switch back to the 4K version for final render?
we normally used 1280 resolution clips with 25 fps..
i do settings with 1280 resolution but, when we import the raw footages in media hub its normally import on 50 fps... its really difficult to always check the fps ...we want always to import the files in 25 fps.
The shop where I work shoots with Sony HVR z7u cameras. The small memory recording unit on the back of the camera records m2t files. Smoke does not seem to recognize these files natively. (Neither did FCP without a downloadable Sony driver). Is there a recommended workflow for dealing with m2t files?
I've been unable to import ProRes 422 files son I have to work with the H264 native files, which suck. But now I tried to import a couple of PSDs and a TIFF and they don't appear in the media hub nor can I drag-and-drop'em to the media library.
I have png files with alphas sometimes Smoke will import them as a still frame that I can change the duration of . Other times it will import it with 23.98 time code and then I have to freeze it to extend the duration.
I worked for two days with Smoke 2013. Much easier to get around than previous versions. but for now I will only mention the problem I have, not the qualities I found in this new version.
First day of work was fine, everything felt as expected. Second day the problems start:
> same User, same Project, same Original files and hard drives.
- at startup error message briefly displayed: "failed to create tar files" - upon Importing ProRes 422 files: I set smoke to Create Intermediate files and Proxies (in order for Smoke to use its own files and not the originals): does not do anything. At the bottom left of the timeline I get the message: "can't connect to backburner manager". I tried restarting Backburner. It seems to work, but on reimporting I get this message again. - if I then drag the files from the Finder to Smoke, they appear in yhe library but cannot play (Render Pending message). On first day I worked with the same set of files and Smoke seemed happy. I felt things were going nicely.
What's the easiest way to send a project to a collaborator outside my facility? Everything will remain in Smoke. All media files exist at both locations so we just need to be able to share the project files. Is an archive the best bet?
One shows my finder where the psd files are, and the other shows my desktop within the Smoke library. Only one psd file gets recognized.I tried copying them to different locations, and renaming them, but nothing worked.The ones that don't get recognized are in CMYK colorspace. Is that a problem?How else can I get the layers into Smoke? By converting it to RGB, my layers get flattened.
How can i remove processed files from my HDD. it is taking lots of space in there...??
i am using softfx in the timeline and each time i process it is taking the space i want to keep the last one with which i am happy and remove the others; with the processed files that was created by smoke. so i belive i can save some space in my hdd.
We are trying to share files between a Smoke 2013 E1 and a Flame 2013. I can see Flame from Smoke but no the other way around. I can see flame´s projects but cant see any clip. I can see flame´s clips from Safari using Wiretap Central. Are these applications compatible?
Smoke 2013 Ext1 17" Mac Book Pro OS X 10.8.5 16 GB RAM
Any time the gateway scans a directory, which has a clip that has stereo audio, Smoke hangs. Is this a bug? Specifically the file was a Canon 7D file which had audio recorded with it. The crash does not happen when we try a file without audio or a file whose audio has been converted to mono. The file was directly from the camera. Same thing happens when it is a Prores HQ file with Stereo audio.
I accidentally moved some files while working on a promo. When i try to relink the files I all these different icons - see attachment. Yellow boxes, etc., when I try to relink matching files Smoke hangs.
I like to use TIF files because of the embedded alpha that can go along with the file. I'm having a small problem when I'm using them inside of Smoke 2013. I'm creating text files in photoshop, real basic color fill with a drop shadow, my workspace is 16bit RGB, exporting them to TIF from Photoshop and importing them into Smoke. I make sure Create Matte Container is selected and import the file into my library. When I add the file to my CFX comp i'm seeing a black edge around everything. It looks like the fill is not extending all the way to the edges of the matte. Is there something I need to do to make sure that these file comp correctly? Am I exporting them right from Photoshop?
My Smoke just crashed and there is the possibility of loosing all my projects. I have localized some files that I want to "recover" even if they are all scrambled. The problem is that these files seem to be single frames .mov files. If I try to import them to another Smoke they will be imported as single files and there are 6000 of them. How can I tell Smoke to treat the individual .mov files as a single sequence. I renumbered the files.
Is it possible to change the settings of red files that exists in a sequence?
I've tried altering the red import settings of a sequence that contained the same clip cut up and a sequence that contained red files and non-red files, but the change seem to only work on the original clips.
Trying to import some still images into Smoke 2013. There are 15 files, all from the same source, all the same format (.png), however, when I open the folder in the mediahub, it reads 2 or 3 of the files and nothing else. The other files are in the folder and are no different than the ones Smoke does read, yet for some reason the other files are nowehere to be found through the mediahub. This isn't the first time I've had something like this happen.
Am I right in assuming that YUV Headroom should only be enabled when importing YUV 422 10bit files?
How does Smoke deal with RGB import of 4444 files? I am hoping it is similar to Resolve & imports the full range?
I tested this by importing with & without headroom & exporting dpx of both. I then compared these to the full range imports in Resolve & the dpx derived from not enabling headroom was the match.
I ask this as I want to ensure my comps go to Grade ok, and the colourist is happy! Last time I did this we were working with 422 10bit files & I had to enable headroom in Smoke in order to match Resolves 'full range' import.
We are working on one of our first projects in Smoke. We have transcoded our footage from 5K Epic footage to 1080P ProRes Proxy Files for editing in smoke. We are having an issue with audio playback. The files playback fine in Quicktime, Final Cut Pro X, and Adobe Premiere. But in Smoke the audio is just static/ hiss.