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Canon D5
I have a spot offlined shot on D5, offlined in media composer, and exported as both AAF and EDL.
In Resolve i can import both lists, but the footage won’t link up. Reel names for Canon footage comes up as 001 instead of the file name. In MC i’ve copied column information into the tape id column from the file name column, and re exported my list. Same result.
In resolve, the AAF version gives me the option to fix conflicts, but I have no idea which file goes with which shot, as i don’t have file names listed on my timeline.
The EDL version, with the the copied column information comes up with the proper files names listed, but instead of having the “C” in the corner of each clip-indicating a conflict, each clip simply has an X through it. I guess indicating that it doesn’t think any of my media in the pool cooresponds to the media in the timeline. Is there a manual override to force a conflict resolution?
Glenn
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13 Replies
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Export the offline QT from Avid. Import into Resolve as offline QT and then use it to resolve the conflicts. It doesn’t answer why you can’t properly conform with EDL, but at least you’ll be able to work around the problem…
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Hi Glenn,
Could you please send us both the EDL/AAF, as well as a screenshot of the Config/Browse/Conform page after you have loaded the material? Please send to davincihelp (at) blackmagic-design.com.
Thanks,
Rohit -
All of my work is clip based cameras as well (Canons, Red).
Red projects conform merely ok, with lots of conflicts to take care of. 5D projects are the worst, as usually the 5D files are transcoded without TC.
What’s the best way to export EDL out of FCP to carry file names? Is there anything in Resolve to modify to get it to read those filenames better?
I’m a little disheartened to read that AAF has the same problems. I figured Automatic Duck AAF out of FCP would solve all this.
Nate Weaver
Director/D.P., Los Angeles
https://www.nateweaver.net -
I will upload some files
Glenn
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In your project settings there is an option to read clip names from EDL comment field (which is I believe where FCP would put the full RED and 5D clip names).
If you’ve already tried that and it’s not helping, it may be a little disheartening, especially with 5D…
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For Red clips, if you are getting a conflict, it’s most probably because you haven’t enabled the reel number option for conforming. So Resolve relies only on timecode, and it might give multiple matches, hence the conflict.
For Red files:
1. In the Config Page, Project Tab, Timeline Conform Options, enable “Assist using reel numbers from the:” checkbox.
2. Choose the 3rd option, “Embedding in source clip file”
3. In the Config Page, Settings Tab, Project Settings, enable “Extract reel names from EDL comments” (if required)
4. It is important to set these before adding the files to the media pool.
5. Also, please choose the correct timecode type for Red files in the Source Tab. You have 3 options: Camera, Absolute (Time of Day) and Edge. You need to match what was chosen on the edit system to generate the timeline.
The best way to verify this is to look at the Conform page. In the “Conform EDL” window, at the bottom, the Src In and Src Out timecode should match what you have in the media pool. Also, the Reel should match what is shown in the clip browse window on the browse page.
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I was doing some demos and workflow tests with a client last week and we came up with the following workaround for EDLs working with footage that doesnt provide the information required for a good EDL workflow:
This workaround tricks Resolve into thinking that the clip name is the reel name by retrieving the clip name from comments and using that.
Therefore
In the conform page you can set a string for Resolve to retrieve a reel number from the file path.
By setting this to the clip name itself, you can trick resolve into thinking that the reel number is the clip name. This only trips up if you have multiple clips with the same file name (which you shouldn’t unless the footage has come from two separate cameras that are in sync with each other.)
I believe the string was something along the lines of */%R.*
Give that a try and let me know how you get on.
Cheers
Jamie Allan
Post Production Consultant
DaVinci Specialist (Linux/Mac)
Jamie@Jigsaw24.comJigsaw Systems Ltd. – IT & Broadcast specialists for the UK
https://www.jigsaw24.com
https://www.jigsawbroadcast.com -
can’t get that string to work, but I’ll read that part of the manual again, and see if a variation will work.
Part of the problem may be that in Avid, I can’t copy any information into a “comments” column, so the “use comments for reel names” won’t work.
My list is reading the file name properly, but the original canon files don’t have a proper reel name…So yes If i could get Resolve to read the filename from the original files, and relay it to the reel name of the EDL, we may have success. The other option would be to try to edit the meta data on those original files to create proper reel names..any way of doing that?
Glenn
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In EDL manager you can chose to have “clip names” as part of the comments in Avid. If your clips are named with proper reel information, would that help?
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have gotten (with help from Rohit)
Offset my media pool by 1 hour (to match my Avid Settings for timecode on import) and then used
“*/%R” as a reel name search string.
This allowed me to do a conflict resolution on my imported edl timeline.
This was a 30 second spot, so not too bad.
In the end it would have been easier to output a dpx sequence at full rez, and split it up in Resolve, but I wanted to know what i would be in for on a longer piece.
Glenn
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