Can the Tape field for Arri raw files in Avid media have frames in it?

[Glenn Sakatch]

If the aaf is not automatically being made, try pushing the avid preset EVERYTIME before adding to render queue.

Just because you have all the correct settings called up for an avid workflow, doesn’t mean you will get the aaf. I find I have to press the avid button each time to be sure I get an aaf.

Glenn

[Nina Lucia]

Thanks Glenn. I’ll give that a try.

EDIT: Decided to move forward with Pro-Res proxies rather than mxf. And figured out how to work the folder thing.
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Any idea how to just get the clip name alone for the Tape field?

And new question… How do I not have the files go 6 folders deep? There’s an option I saw that I left unchecked, but even though I navigate to the folder I want to use, it creates a bunch of extra folders that iirc is the original media path name.

[Glenn Sakatch]

There is a particular tape name pattern that you can use for items like Arri to limit the characters that get represented. I am not in the office until Tuesday, so unfortunately, I can’t help with that right now. Google Arri, Resolve, source pattern and see what you come up with. The question comes up quite a bit.

As for the folder structure, check your advanced area in the output settings. Use Commercial workflow might be turned on, or you have set Resolve to use “X” number of folders to match the source layout. It is all in the delivery tab somewhere.

Glenn

[Glenn Sakatch]

I think this is the pattern i used for Arri last time.

*/%R/%D/%D

This will take the name from the folder structure above the file you are using, which will get rid of the frames.

You can also use something like this

*/%R_*.ari

this trims the name down even more as you will see. I am not an expert on these patterns….i find them quite confusing, and i wish Blackmagic would come up with a new way of doing this… so i just keep a store house of them from other workflows and postings…so use at your own discretion.

Glenn

[Neil Sadwelkar]

When transcoding Arri clips in Resolve,

For Arriraw, as .ari files, or ProRes .mov files, the best practice is to set ‘conform using’ to ’embedded in source clip’.
For Arriraw as .mxf (from the mini) there may be any embedded reel name in Resolve.
In that case, for those files set ‘conform using’ to ‘source name’.

So, in the example clip you’ve mentioned clip name A002C001_170909_R50Q, embedded reel name will be A002R50Q. This will be the reel name for all clips in the mag A002. That is normal.

Many people erroneously set source name for reel name in conform options. In that case, you will see A002C001_170909_R50Q.[0170891-0171586] as reel name. The problem with doing this is that in the name, 0170891-0171586 is the frame name range. If later, you were to consolidate these files to used length, then the start and end frames will change as will the reel names. That will make it hard to conform.

So, for Arri Alexa, ‘conform using’ is best set to embedded.

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Neil Sadwelkar
neilsadwelkar.blogspot.com
twitter: fcpguru
FCP Editor, Edit systems consultant
Mumbai India

[Nina Lucia]

Hm… I’ll play around with that for next time. Thanks!

[Nina Lucia]

Interesting.

I did end up making Pro-Res DNx QTs and so I used Source File/Name and the clip info in the Avid is good. The burn-in has the frames but that doesn’t matter. I also included the Reel and folder name that it lives in in the burn-in so if it doesn’t link they will know exactly where to navigate to find the clip.

I’ll try what you mentioned and also what Glenn mentioned above for mxf media.

And yes, I’ve wondered about the Reel column in Avid. When I’ve gotten dailies prepped by someone else sometimes it’s empty, sometimes it has had the clip names in it but if a facility makes the dailies rather than the DIT I see that they use a Dailies Roll name for the Reel which makes sense. So I’ve put the folder from the shoot day in as that info.

Thanks for the input!