- August 1, 2020 at 4:43 pm
I am trying to workout a workflow for audio using Tentacle sync, creating proxies, either in Resolve or Avid, sending to editors in another city (who are cutting on Premiere) and eventually coming back to me for colour, and to a sound house using protools.
What is troubling me is doing the dailies in Resolve, guaranteeing a proper metadata trip for the sound engineer. I still believe the original audio paths are lost when the proxys are created? I’ve only tried it once from Resolve to sound, but it was a nightmare which included recutting the audio in Avid before shipping off to sound.
Tentacle sync is so easy to use in Avid, but If I create transcodes in Avid, then I’m dealing with opAtom material, which premiere doesn’t like.
I’m thinking, if the sound engineer has an issue with the list from Premiere, I could relink the timelines (which i need to do for colour anyway) but relink the audio as well, and then send that off to sound, as though I cut the show here on Avid.
I have worked out a path from Resolve to Avid, editing some column information for the sound files in Avid, which I can use to relink the proxies to the camera raw, and the original audio files, but once the shoot gets underway, the number of files will make this a daunting task, to copy and past sound reel information across.
The issue is the sync audio column from Resolve includes the full path name to the file, rather than just the filename itself. If i edit this line in the Avid Bin, to only be the file name, then the relink works.
I can access this information in resolve, but can’t do a column copy/paste in resolve to put that data into a column that will show up in an ALE merge in Avid…without again perhaps
Individual copy/paste of each line of data.
What I’m hoping to do is edit the ALE before it comes into Avid, to allow this Sync Audio column to be edited to remove the path, and just show the filename, but and ALE expert I am not.
I’ve tried looking for Michael Phillips 24p.com ALE docs, but they seem to be offline.
My other option is to have Tentacle synce rewrap the audio and video into new camera original files, and proxy that in Avid, but this is rather large reality series, and doubling the storage is not my first choice workflow.
Anyone have any suggestions on editing the ALE’s.
- August 1, 2020 at 7:03 pm
Saw your email and the same issue here…
Regarding 24p.com… I lost that domain due to my provider sucking at alerting me that my 5-year term was ending. It got picked up by another payment processor company but they were nice enough to let my emails forward to my new adress which is the same but ending in 24p.io
I may try to rehost all the blogs one day… I have the text but lost all the images so there is work to be done.
That being said, there was no blog on this particular workflow with ALE and I have asked Da Vinci for a few years now to create a separate metadata column for audio filename.
I did work with Bouke on some of his updates to ALEChange which allows for some nice ALE editing, merging, and things like and certainly work checking out.
It’s too bad that Avid’s new “bulk edit” is so limiting…
As far as PPro, it will play the OPatom files in a MediaFile folder just fine – but may need an AAF to connect the tracks to each other. I need to do a little testing.
- August 1, 2020 at 7:13 pm
Thanks for replying Michael.
When i sent the OpAtom to the premiere editor…yes i only sent files, didn’t even think of an AAF….have to try that, as it might make everything easier.
I also tried the bulk edit in Avid and thought the same thing…this doesn’t do nearly enough. On the surface, I thought it would be perfect, but only for adding characters to the column. Removing them seems undoable at this point.
After some more playing, and trying notepad ++ instead of Notepad and Excel, i was able to do a find/replace on an ALE out of Avid, converting the sync audio to filenames only, so I think i’m getting close, but yes, if only Resolve would give us some column duplicate/copy manipulation, or a proper sound filename column.
Of course if the editor can handle an aaf out of Avid, with opAtom media, then I will be laughing.
- August 2, 2020 at 12:40 pm
That’s true – I haven’t done a lot of testing with OP1a yet. I remember stumbling on the fact that the RED AMA plug-in supported AMA linking to OPAtom files since that was what the camera recorded for DNxHD/R.
- August 2, 2020 at 3:23 pm
Some very quick media compatibility testing… Set Media Creation to OP1a.
- V+A clips synced in DaVinci Resolve
- Delivered as MXF OP1a/DNxHD LB
The resulting OP1a file plays fine in PPro, VLC, Resolve, and MC when AMA linked. Ideally, you would just place these files in the Avid MediaFiles folder as has always been the practice with native OPAtom files but be aware:
You cannot place these directly in the: Avid MediaFiles/MXF/1 folder structure.
When Media Composer creates these files, they go into a: Avid MediaFiles/UME/1 folder structure.
So I placed the OP1a file as created into the UME folder structure. I launched Media Composer, opened the Avid MediaTool, and dragged the clip to my bin. I scroll to look at the metadata and I notice that there is no metadata in TAPE (expected) but SOURCE FILE says “Offline File”:
But when creating an EDL, the info is there:
Exporting an AAF to Davinci Resolve using a sequence from that clip imported fine and linked to the media in that UME folder (both applications on the same laptop) and the filename/REEL was present.
Importing the same AAF into Premiere Pro also worked, just needed to the media relink via the “locate media” command.
But trying to merge an ALE didn’t work of course since the clip in the bin had no values in either Tape or Source File:
I will say that I tried importing the MMOB file and it worked the same way from UME folder, but in one test I could not play the media at with a bunch of errors popping up. When I have more time, I may look into that a little deeper.
- August 2, 2020 at 10:01 pm
Excellent…I did not know that.
I will have to play, as well to see what pitfalls my workflow will uncover.
- August 3, 2020 at 3:23 pm
- August 15, 2020 at 12:46 am
In the end, it turned out Resolve was reading the timecode with a 1 frame offset, which it appears can only be adjusted on a clip by clip basis. Obviously the tc being out by a frame could be a disaster when trying to relink to camera source files, as nothing will match. Both avid and tentacle syncs own software read the tcs properly, so I ended up using tentacle to assign the time code to new master files, then transcoded those in resolve. I like boukes software, but after converting the Euro to Canadian, it became less attractive than using notepad ++. Couldnt justify 500 dollars or so…
In the end editing the ALEs there, and then into Avid for relinks seems to work great.
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