[Ben Harris]

Brilliant thank you for your answer. Exactly what I wanted to hear. Upon further inspection the MXFs are actually AVC but I think I’m going to stick with the DV, and only transcode to ProRes if required.

[Ben Harris]

Yep. I think that’s probably the best option however we have a large amount of footage to ingest and don’t have the time. I think the best for us will be to sync cameras in a sequence and make our selects from there with all video / audio tracks.

Thanks for both your help

[Ben Harris]

Hi Ricky,

Thanks for the quick response. That makes sense but it doesn’t seem to have worked for me. Just want to check my workflow against yours to make sure I’m doing it correctly.

I created a 30fps and brought all my clips for the MG into there and then MGed. Works fine in that project. I’ve then moved the bin into the 23.98 project and it will not play back at all unfortunately. Receiving this message;

‘Group clip frame rate (30) does not match project frame rate (23.976). A group clip can be loaded only if it is the same rate as the sequence. Load the master clip or the sub clip instead of the group.’

Any ideas?

Thanks

Ben

[Ben Harris]

Hi John

Thanks for your reply but I have this issue when tracks are targeted as well as when they are not

Thanks

[Ben Harris]

Thanks for you answer Trevor. I’ve gotten in touch with Avid directly but I think you’re spot on with your explanation having delved deeper into it (I will report back if anything changes).

As a side note, I’ve been in contact with the guys at Indiestor (MIMIQ) recently as we are looking in to using that for our workflow and they have just assured me that MIMIQ works smoothly with the new upgrade 18.4 Ultimate if anybody is looking at this for reference

Ben

[Ben Harris]

No no don’t apologise at all, that was very helpful and informative. Unfortunately are On Set Audio has already been recorded and I don’t appear to have any Monophonic files from our sound recordist so I guess we’ll take what we’ve been given but this is good to know for the future.

As for our workflow I think we’ll go with the suggested import as MXF and can send to sound engineer with MXF/WAVs with AAF when it comes to the mix.

Thanks for your help.

Ben

[Ben Harris]

Thanks for this information. Very useful. So most engineers are happy to mix with the MXFs? That was my main concern. I guess we’ll do this and provide them with the originals if they are required.

[Ben Harris]

Hi Michael

Thank you for your reply to my forum post. Any help and advice is very much appreciated. While we have figured out most of our workflow ins and outs, there is one which I am still scratching my head about which hopefully you might able to shine some light on.

We have footage which is not at our master project timerate (29.97, 60, etc. while we are cutting at 23.976). How do you go about dealing with this with the Resolve > Avid > Resolve roundtrip?

Thanks again,

Ben

[Ben Harris]

How do I find out if this is the case? It doesn’t seem to be having problems with GoPro, Z90, EVA1, A7S, FS7 footage.. but DJI don’t burn in timecode metadata? Is there a way for me to do so?

[Ben Harris]

Thanks Michael for taking the time to look into this.

I think I have gotten the A7S footage working using the Da Vinci Round Trip method outlined in this article; https://droppedframe.com/2017/10/09/resolve-to-avid-a-dailies-workflow/ . I am transcoding to DNxHR LB into 1080p and working in a 1080 project in MC and everything seems to link well when going back to Resolve, even with duplicate filenames in the sequence. I then change the Da Vinci project settings to UHD and all is well. Thank you!

I am unable to test the EVA1 footage at the moment as I am waiting for our producer to pull the trigger on the Studio version but I will report back with my results in case anybody is reading this in the future and needs to know the solution.

The only question I have with this workflow is when you sync your audio. In your practice is it best to sync the audio in Resolve or in Avid? We will be sending the audio to an engineer to be mixed in Pro Tools once the edit is finalised.

Thanks again, Ben