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Synced Resolve Dailies to avid and back.
I’m using resolve 16 and followed a video tutorial to send proxy files to the editors Avid, but when he sends me an aaf I can’t seem to match back to the synced clips.
I synced the audio and video in Resolve and then exported creating MXF atom files. The files have both cameras and separate boom audio merged together. He can send me the aaf and I can create a sequence in resove that matches back to the braw video but not the boom audio.
Anyone know how to online the synced audio?
Heres the tutorial I followed. https://www.youtube.com/watch?v=L-hIpqUWrH8&t=733s&ab_channel=PremiumBeatbyShutterstock
Thank you
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8 Replies
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It has long been a problem trying to sync audio in Resolve, then create proxies, then send to Avid, and then return to Resolve, and try to relink to original audio.
The tutorial you referenced did not do a complete workflow, and in fact didn’t even finish a proper workflow to Avid. He had you make an ALE File, but didn’t show you what you should do with it. (That ALE contains the information you would need to get this workflow to work properly).
I’ve recently done a series of workflows to and from Avid and Resolve. In this one i go the extra mile and explain why you want to make an ALE, and what you should do with it.
In your situation, your Avid editors can probably still edit and merge the ALE, and reoutput a list for you.
Glenn
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Glenn,
This is really great, thank you. The only difference in my situation is that the editor is in a different city and they don’t have the raw camera on their system.
But I think it still works as long as I send them the original audio.
Thanks for the Video, great work!!
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Hope it works for you.
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Have you tried to create an audio only AAF from Avid with consolidated audio media and import that into resolve to get the audio in separately.
That way you also get all other audio like music, fx etc that was loade dinto the AVID. I presume you used PCM audio for your proxies so there is no need to reconnect to the original PCM as you will not have suffered any codec loss.
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Hey Michael,
That’s the method we ended up using. Proxys with 32 bit audio and separate aaf’s for A/V.
It’s just simpler for our workflow.
Cheers
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If all you need to do is get audio back to resolve, then yes there are other methods, but the issue quite often is that a sound house wants to work with the original audio files, and the information they need is (kinda) destroyed by Resolve in the first place…thus the ALE.
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Yes I agree, and your video is a way to do that.
Giving the choice I would sync in AVID (or whatever NLE) as it seems much more robust in keeping that original audio data.
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Yes I almost always sync in Avid.
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