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ARRI Uncompressed HD .dpx – Avid > Resolve round trip workflow
I’m working on a film that is shooting on an older model of the Arri Alexa that is recording both Uncompressed HD (.dpx), as well as ProRes 4444 proxies.
I’m currently trying to set up the project for the editor in Avid and my plan was to ingest and transcode the ProRes proxies to DNxHD36 for an offline workflow, then export an AAF for resolve and relink the sequence to the Uncompressed HD.
The problem is, I’ve tried a test on this and I can’t get the sequence to relink to the uncompressed files in resolve. The file names of the DPX are slightly different than the ProRes footage. (i.e. DPX = C001_B002R1YD , ProRes = B002C001_160612_R1YD)
I also noticed that the source timecode on the DPX files is about 2 frames off from the Pro Res files.
It seems like there could be a number of factors contributing to the issue. I’ve tried reseting the timecode of the DPX clips to match the ProRes clips in DaVinci, but that didn’t work. I’ve also tried various changes to the conform settings.Any suggestions or help would be appreciated.
I’m Running Avid 8.3, Resolve Lite 12.
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2 Replies
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Scott Freeman is the go to guy for avid workflows, https://my.creativecow.net/Scott-Freeman
http://www.pearlstreetpost.com
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if we are considering or assuming the DPX are the camera originals, and the Prores are the “proxys”…yes i know these are extremely high quality proxies…perhaps a renaming program can help you out?
Also, do you really need to go back to DPX in resolve? the proRes 4444 should give you a pretty good online product?
What is your final delivery?Conversly, you might be able to bring the dpx into Avid and transcode to 36 there. I’ve never done it with DPX, but might be worth a try. Not sure if the round trip back to Resolve would be screwed up by the file sequence vs a single mxf 36 file.
or you could try the same transcode in Resolve
Glenn
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