The following workflow is designed specifically to accommodate importing or soft-importing DPX sequences generated from a film scanner. This allows you to import DPX sequences originating from different film reels in a single step. You can efficiently batch-capture file-based media in preparation for data conform from an EDL. The imported clips all have the correct source keycode, timecode, and tape name, making it easy to load your EDL and assemble the timeline for conforming and finishing.

To import DPX file sequences for data conform:

1. From the Library menu, click Import Image and select a destination reel.
2. In the Import Image menu, browse to the top-level directory that contains all the subdirectories and image sequences that you want to display.

   Typically, all DPX sequences generated by a film scanner reside in a top-level <project> directory, sorted into subdirectories corresponding to tape name, resolution, and sometimes clip name, as follows: ./<project>/<tape>/<resolution>/*.######.dpx

3. From the File Format box, select the DPX image type.

   You can select any single, supported image type. The default type for image files is DPX because this is a DI standard that embeds source metadata in the file header.

   
   

4. Optional: Enable Filter and enter the appropriate criteria to focus your search.

   The criteria is checked against the entire path. For example, if you enter *2048*, the filter will list only those sequences that reside under a directory path containing the string “2048”. In this case, only 2K sequences are displayed while everything else, such as 1K proxies or thumbnails, is filtered out.

5. Enable Scan Subdirectories.

   
   

   The directory scan begins. This may take some time to complete, depending on the size and quantity of subdirectories and files.

   When the scan is complete, the Files list displays all detected files with the directory path relative to the top-level directory. The list is sorted alphanumerically by path and filename.

   
   

   (a) Subdirectories in the scanned directory  (b) All nested subdirectories with full path  

   TipFor long filenames that may be clipped in the browser, hold down the Alt key while hovering over the filename. This displays the full filename in a floating window.

   The results of the scan remain until you browse upwards to another directory, in which case the Scan Subdirectories option gets disabled.

6. Select the images that you want to import.
7. From the File Timecode box, select File Header Timecode.

   This will set the source timecode of the imported clip based on the timecode information in the DPX image file header.

8. From the Keycode box, select File Header Keycode.

   This option allows DPX files that contain keycode data to be imported with their keycode data intact.

   NoteFor 35mm / 3 perf and 35mm /4 perf keycode, both perforation and frame offset modes can be read from the DPX files. For all other film gauges, only frame offset mode can be read.
9. From the Framerate box, select File FCM.

   This option allows you to detect and use any existing framerate information in the DPX file to create the clip.

10. From the Film Gauge box, select the gauge corresponding to the source film from which the images originated.

    This value is necessary because keycode values are assigned to each frame of the sequence differently, depending on the film gauge.

11. Set the tape name for the imported clips.

    You can either infer the tape name from a directory name or read the tape name from a DPX file header. Do one of the following:

    • To infer the tape name from a directory name, from the Tape Name option box, select Tape From Directory, then use the Level field to configure the relative file path to the directory from which the tape name can be inferred.

      This is designed to work with the directory structures that are output by film scanners. For example: ./<tape>/<resolution>/clip.######.dpx. In this case, selecting Up 2 Levels in the Level field identifies the directory that corresponds to the tape name.

    • To read the tape name from the DPX file header, from the Tape Name box, select Tape From File Header.

      The tape name is read from the Input Device Name field (field 38) in the header of the DPX file and is displayed in the Tape Name field. There is currently no industry standard for embedding the tape name in the DPX header. Some film scanners, such as the ARRISCAN, write the tape name associated with a film frame into field 38 of the DPX header. Other scanners, for example, Imagica or Filmlight, allow field 38 to be user-definable, although the default value is not the tape name.

      NoteBefore using the DPX Tape name feature, consult with your film scanner operator to ensure compatibility.
12. Specify a LUT to remap specific pixel values when you import the DPX images. See Colour Management.

    
    

13. Optional: Perform any resizing operations.

    When you disable the Resize button during import operations, the aspect ratio of the clip reverts to default. See Processing Group.

14. Enable Soft-Import Full Res if you want to import a reference to the media, but you do not want to store the media on the local storage.
15. Optional: Select a queueing option from the Add To Queue box.

    
    

    If you are soft-importing the clips, you can generate proxies in the background. This gives you the ability to assemble the timeline while proxy generation is taking place. See Importing and Soft-Importing in the Background.

16. Click Load.

    After you have imported or soft-imported all the sequences, you can import the corresponding EDLs to assemble a clip with unlinked media, then relink the clip to the DPX files in the reel.