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What is a typical Avid to DaVinci Resolve online prep like?
I mostly work on TV programs and have been doing an Avid to Nucoda for finishing workflow. Online prep is pretty straight forward – bring all video to the lowest tracks possible, lift up all effects (except resizes) and filters off the video, Consolidate and send the drive out. I’m curious to know how the Avid to DaVinci process differs. Camera formats I tend to work with are C300, DSLR, archive and stills. Does the workflow differ if you were uprezzing RED or Alexa footage?
Thanks.
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4 Replies
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If you are using High res mxf in Avid, then your workflow sounds pretty similar. Consolidate and or transcode media to a location you can identify to resolve. Cleaning up your timeline as you described will never make your online editor unhappy.
Create an aaf and go over to resolve.
In resolve I typically import the media before I bring in the aaf.If you want to go back to R3ds or something else, the only thing that changes is you also have the option of telling resolve you want to go to camera originals, in which case it will ask you where they are during the aaf import process.
remember to spit out a reference qt as well. I like it when it has a burn showing record time, and source time/file name. if there are any issues, that helps narrow them down pretty quick.
Glenn
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Ok so this sounds pretty much the same for the most part. Except that it seems you might potentially need the camera raw files. Is this just for the audio? If the uprezzing happens in Avid, would you just need the Consolidated MXF media? Do you ever need the camera raw for video? When you’re done in Resolve, do you send back to Avid to layoff to tape or something for output?
I’m pretty curious because I see many job opportunities listing DaVinci prep or workflow, and I wonder how difficult it actual is compared what the job listing or producer makes it sound like. Once I got the hang of the Nucoda timeline prep, it became a breeze.
Any pit falls you’ve come across in the workflow? Mixed frame rates okay?
Thanks again.
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Your original question mentioned going back to the R3d’s, so I included that idea in my answer. If you want to do that, then you are obviously going to need the camera raws. If your Avid was working at low res, and you want to stay in mxf, then you would need the camera raws to get avid up to high res mxf before sending to Resolve…or you could use Resolve to read the camera raws, and skip uprezzing in Avid. Depends on your desired workflow and perhaps desired finishing output.
If your Avid is already at High quality MXF, and that is what you want for your final quality, then you wouldn’t need the raws.
No correct or incorrect answer…just different workflows.
Glenn
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Cool, thanks. I appreciate it.
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