Resolve One Light Into Avid

[Mike Most]

No, that will not work. Avid uses tape name to relink to different resolutions of Avid MXF files, but it uses Source File to relink to AMA files (which would be necessary if you wanted to bring in ProRes). There is no simple way to create a Source File entry in the MXF metadata other than using Avid software to create the MXF. There are various workarounds for this, but they require a clear vision of what you’re going to do in post. If you want to do what you’re suggesting, one way to do that would be to generate DNxHD encoded Quicktimes and importing those into Avid. Unfortunately, Resolve doesn’t currently support the DNxHD Quicktime codec, so that isn’t an option. You can do this with Assimilate Scratch or other software, but not with Resolve.

Your best bet in this case is probably to generate Quicktime files using ProRes (LT, perhaps) or some other supported codec. Make sure the files are named exactly the same as the original ProRes source files. Generate an ALE from Resolve. In order to use AMA relinking to the original files, you’ll have to edit the ALE to contain a column called Source File, and put the full file names into that column. You can then import the ALE into Avid, and Batch Import (transcoding to DNxHD) from the graded Quicktime files you created in Resolve. Avid will ask you whether it should use tape name or source file, select source file and let it rip. You should then be able to relink to the original ProRes files when you’re done cutting by opening them in a bin as AMA files, selecting all of them, and then using Relink, specifying relink to selected files in all open bins. Enable AMA relinking and everything should link up.

This is a rather convoluted procedure, to be sure. But unless and until Avid issues their next release, it’s the only way to do what you want without doing some serious hacking that is likely beyond what individuals without direct knowledge of and access to Avid’s software should be doing.

[Danny Scotting]

“Unfortunately, Resolve doesn’t currently support the DNxHD Quicktime codec, so that isn’t an option.”

I am able to render DNxHD in a variety of resolutions using Resolve, its an added cost to purchase the codec disk ($500 in Sydney) but it will do it.
I have successfully created a series of graded (one light) MXF files from Alexa Pro Res QT using Resolve for import into Avid.

If this is the first stage of the process you just treat it like any other rushes footage.

I can then use the AAF from Avid after the cut to conform and grade as normal and then send the graded footage back to Avid for relinking using the same project/AAF, just need to make sure ALL information is kept in the rendered files.

Good luck.

Danny Scotting – Senior Colourist
Post Op Group Sydney

https://postopgroup.com.au/site/?page_id=1052

[Thomas Wong]

hmm… that much round about encoding is kind of counter productive. wish there was just an easy way to place the cube lut or CDL i create in some software and bake right into avid mxf and have it work just fine. I’m looking into Alexicc which looks promising, but it’s not as fast as actually transcoding within avid, or using resolve. and the cube to icc profile converter is expensive.

hopefully avid will have lut support with their new release at the end of this year.

also tangent question, is there a way of transcoding files with lut, and maintaining the audio track out of resolve? from what I understand resolve will always strip the audio yes? I know there is a conversion method from within media browser which I wanna try out, but any heads up on whether I can apply a lut to that and if it will strip audio?

[Mike Most]

I didn’t say it doesn’t support DNxHD. I said it doesn’t support DNxHD in Quicktime, which is true. Why, who knows. But it doesn’t, although for many reasons I wish it did.

What you suggest is not an uncommon workflow. It just isn’t what was asked. What was asked was whether the ProRes files could be relinked in Avid. The answer I gave is a way to do that. There are other post flows that don’t require that – yours, for one. But that’s not what was being asked, so that’s not the answer I gave.

[Mike Most]

>>hopefully avid will have lut support with their new release at the end of this year.

Hopefully they’ll have lots of things, like direct support of relinking to external formats, support for DPX and other file sequences, and support for common video hardware like Blackmagic and Aja cards. Possibly even some support for their own hardware, like the MC Color and MC Transport panels. But I don’t work for Avid, so I have no inside knowledge of any of that.

Resolve doesn’t so much “strip” audio as it doesn’t render audio at all, regardless of format. Once again, it might be nice if it did, but it was designed as a grading program, not a transcoding engine. That isn’t stopping people from using it for other purposes, though. It’s funny the things that people with come up with when you start giving them good software for free…

[Thomas Wong]

not just about free, I mean I own a full license of resolve, I could bring on set too, i’d just rather not in fear of losing my dongle. either way, Resolve is very robust in format support, and keeping metadata intact with export. it’s really so close to being the swiss army knife of bridging that last bit of production to post. but certain things lacking prevents that. I understand it’s a finishing tool, just trying to find the best ways to fill this big hole i production now. It was easy luting pro res editorial from Alexa to FCP, the gap to Avid now needs to be filled more than ever with the epic fail known as FCP X. and the best price in town is always free 🙂

hopefully avid or BM is listening, and something will come of it. I have a lot of high hopes for Avid at the end of this year. and can’t wait to see what BM has in store for further resolve updates.

[Mike Most]

I didn’t say it doesn’t support DNxHD. I said it doesn’t support DNxHD in Quicktime, which is true. Why, who knows. But it doesn’t, although for many reasons I wish it did.

What you suggest is not an uncommon workflow. It just isn’t what was asked. What was asked was whether the ProRes files could be relinked in Avid. The answer I gave is a way to do that. There are other post flows that don’t require that – yours, for one. But that’s not what was being asked, so that’s not the answer I gave.

In your workflow, the only information that must be in both the offline and the final graded files is the tape name and time code. And the tape name must be the same in both renders, which means that you must use either the file name (using the formatting string) or the embedded tape name when bringing the files into the media pool. The actual file names are irrelevant, as is the issue of the new shots not starting on the same time code as the originals. However, I would also add that it’s useful to render the graded files in this kind of approach using handles, and needless to say, they must be rendered in source mode.

[Andi Winter]

those things are on my xmas wishlist too:
– render audio
– easier avid workflows
– avid supporting blackmagic-video cards

thx santa in advance 🙂

[Thomas Wong]

you’ll have 1 out of the 3 in the near future at least guaranteed. Avid announced with their newest version, full third party I/O card support. no more expensive MOJO’s just to get some HD reference.

444 dnxhd codec too.

i just emailed and lobbied to BM to have audio render capabilities out of Resolve along with a more robust avid MXF export. Yes it’s a finishing tool, but with the price drop and it’s amazing capabilities, it’s accidentally the ultimate color management tool from set to post. I suggest anybody that see’s it the way I do email them like crazy to do this! I think it’s a win win situation for everybody. would def sell more decklinks, ultrastudios, and full license versions too if lite isn’t enough for you.

Resolve is the shizzle.

[Mike Most]

I would suggest that although customer requests certainly influence development, competition is the real driver. If or decide to integrate and expand their color toolsets to work well with their editing toolsets, and offer solid hardware controller solutions to drive it (Tangent Element or MC Color, perhaps) that would likely have a much larger influence on a company like Blackmagic to expand Resolve’s capabilities and/or offer more hardware options.