Tentacle sync, Avid, premiere, protools
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.