Avid AMA Dailies Workflow

[Joseph Owens]

The other issue that you may have to take into consideration is that Resolve does not pass-through audio.

For some reason, the designers thought that the community would be using this application as a post-production grading tool.

jPo

You mean “Old Ben”? Ben Kenobi?

[Mike Most]

If you use the entire file name – without the extension – as the tape name in Resolve (you have to use the “conform assist” option with the path extraction control string for that) there shouldn’t be any problem as long as you’re on MC6. In the relink options select “relink tape sources to file sources” and that will allow you ro relink AMA sources.

You can sync any double system audio in Media Composer quickly and easily.

[Michael Phillips]

I would add to MM’s comment by adding with all BWF metadata, track info, pullup/pulldown (if needed), timecode conversion (if needed) Mix and ISO tracks selection during sync, resync, etc. Far better than any automated on-set “dailies” system can offer today.

Michael

Michael Phillips

[Stig Olsen]

Nigel,

Why dont you change the source of the AMA-linked ProRes-files before transcoding to 36? No need to use Davinci for this purpose.

Stig

[Martin Stange]

Hi,

here is my tested workflow:

1. Render the files out of resolve as MXF
2. Copy the MXFs into the MXF-Folder of Avid.
3. Drag and drop the files from the mediatool into a bin.
4. Export all files from the bin as “Quicktime-Reference” (It does batch export everything, when all clips are selected.)
5. Fast-Import the exported Quicktime-Refs again. (only some minutes or less for 1 hour of dailies)
Now they have the “Source File”-Metadata with the right clipname and the timecode is preserved and relinking to the untouched Alexa-Files work.
6. Delete the mediafiles and clips of point 2.

Kind regards
Martin

[Nigel Gourley]

I’m not sure what you mean? We wanted to use Davinci so that we could convert to Rec 709 from Log C and also so we could add burn ins at the same time…

N

[Stig Olsen]

I mean that if you work DNxHD 36, there is no need to transform into 709 as DNxHD 36 is only ment for doing offline edits.
If you want to get rid of the flat look on your offline edit, simply set the source of the offline clips to data levels.

[Michael Phillips]

I create dailies with Resolve for ProRes LogC all the time for my projects. All I do is use the following syntax in the “Specify Reel Extraction Pattern”:

*/%R.%

That way I apply the LUT directly to my offline DNxHD36 and have Avid ready to edit media. If I need additional CDL values, I then merge the ALE into the existing master clips. Having the full filename allows for relinking back to the original files as needed either via AAF or the Char_32 EDL template.

And then I sync as per my previous post.

Michael

Michael Phillips

[Stig Olsen]

Ok, what have I missed?
Why do you want the DNxHD 36 to be viewed in rec709 as you can change the source levels of the raw alexa files before the transcoding to avoid the flat look?

[Michael Phillips]

Because changing levels is not the same as the LogC to REC709 LUT. Do a comparison between the two and you can see the differences. Also, exporting, linking, and all that is not needed by just making native DNxHD in the first place all managed by Avid MediaFile structure.

I’m just saying what works for me. Better looking images in offline, fewer steps with the advantages of Avid managed native MXF wrapped DNxHD media without the performance issues that may arise with AMA link, and if I transcode, dealing with the additional .new clips, etc. Making nice clean dailies up front with all relevant metadata keeps my editorial very straightforward. And syncing my audio to those clips I an automate my scene/take clip naming while retaining all the BWF metadata. From there, a relink, or AAF, or EDL for any other system is easily managed.

Michael

Michael Phillips