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Metadata
I’m shooting with the Black Magic UM46. This camera can add metadata to shots that it records. When I open the footage in Resolve, I see the metadata for each shot. However, when I render video out of Resolve, the resulting files have none of this metadata. So far I have tried rendering MXF and Quicktime files, none of these formats contained any of the metadata.
Does anybody know if Resolve is capable of inserting metadata into the files that it renders out?
If so, what file format and codec works?
This seems to me like a pretty important feature for a number of different work flows.
Thanks.
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3 Replies
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[Reynold Dodson] “Does anybody know if Resolve is capable of inserting metadata into the files that it renders out? “
Doesn’t seem to be part of the Delivery page.
What Resolve offers is an “Import/Export” protocol that generates a .csv file of your Media Pool compatible with “any” spreadsheet.
Search the Manual for [Importing and Exporting … metadata].Some kinds of metadata will be useless to pass on if you are rendering new media. Camera settings will not apply, the date of creation will be the day you rendered the file… my guess is that the intended workflow is to re-link back to the camera original and there it is.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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JPo, thanks for the help. I did see the ability to output metadata to a CSV file. The next step in my workflow is Premiere, which as far as I can tell is not able to read these metadata files.
There’s a lot of different possible workflows that involve Resolve. Ours goes like this:
Camera > 4K Raw Video > Resolve > MXF HD (or other hi res codec) > Premiere > Final output
We are not round tripping here, just using Resolve as first pass color correction and de-Bayering step. This is similar to how you would use REDCINE-X. Almost like an ingest step, where additional metadata (think keywords, scene rating, scene comments) are added.
Anyway, for this workflow It would be nice to have Resolve pass the metadata through to next step in the pipeline.
Open to suggestions on other ways to make this pipeline work.
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Normally in dailies for Avid, the edit process uses ALE (Avid Log Exchange) files that contain the scene & take information, picture timecode, sound timecode, picture roll number/file name, sound file name, production date, and so on:
One potential problem with your workflow is that ideally, camera timecode should be time-of-day, so that each shot for a given shoot day has unique sequential timecode that won’t overlap any other shot, along with unique shot names. If the camera resets to 00:00:00:00 with each shot (or each roll), this will be a potential challenge, but not impossible to deal with.
The other complex workflow issue lies with multitrack audio and setting that up so that, at the end of your edit, you can export an edit list that a Pro Tools editor/mixer can use to re-assemble the project for a final mix. For that, again you need timecoded files and separate file names and so on.
It’s maddening that more edit software companies don’t consider the transfer of metadata as part of their feature list. This can become a huge problem, particularly for large projects that have hundreds of hours of material spread out over dozens (or hundreds) of terabytes of drives.
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