[Blase Theodore]

As for the reel names, do they have unique names in the tape or tapeID column?

As you said, if you disable assist, then you’re not really doing anything. It’ll just randomly link up to the first clip with proper TC.

If your 5d clips don’t have tape names (reel names), you can’t batch paste the tape column the way you can the other columns. Here are 2 solutions.. (I’m not an avid guy, so pardon if I miss some of the lingo)

Solution 1: grade the MXF…

If you’re not able to do this because of the 1:1 issue, and that turns out unsolvable, just transcode to 220x, and proceed as follows..

In avid, set bin display, show all the source clips in the sequence.. (consolidate them to a new sequence first for safety till you know what you’re doing.)

Sort the clips by tape name. Select all the clips that have no tape name. right click, modify, source. This will let you change the tape name manually. create a new tape name called “temp”. Hit ok a bunch of times. Now all of your clips have a reel name (tape name) for Resolve. Even though they all have a generic tapename, thats enough to get this to work. Export an AAF and allow it to automatically pull the media in resolve. Everything should come online.

Solution 2: generate an EDL and relink to source clips:

This is more complicated..
First the avid prep..

From a non-consolidated timeline..
Duplicate the sequence into a new bin. Set bin display, show clips.
Choose columns, make sure TC24 and TapeID are present.
sort by name. select the name column. Cmd-d to duplicate, paste the name column into the tapeID column.
Assuming your clip name was something like MVI_3447.mov, the tapeID will now be the same for every clip.
select the “media start”, copy and paste it into the tc24 column.
You now have 24p based timecode.

Use the edl manager to create the edl. Use the file16 or red16 profile instead of cmx3600.
Set the timecode base to tc24. Set the reel name source to tapeID.

You should now have an EDL with proper 24p based TC and reel names.

There’s a good possibility that your clip names weren’t so clean. And hence neither are your reel names.
In the edl you’d want to see:
MVI_3447.mov

but instead you see..
MVI_3447.mov.new.01.blah.exported.whatever

Open the EDL in textedit, and do a find and replace all instances of “.new.01.blah.exported.whatever” with nothing so you end up with clean reel names.

Resolve prep:
Import all your source 5D footage into the media pool. Set reel names to the file name using the /%R trick.
Check that the media pool now has clips with reel names like MVI_3447.mov and comparable timecode values.
The source 5D clips should also start at 00: tc, unless they had been previously modified with QTChange. If thats the case, select all clips and override the TC to 00.

Import the EDL. The EDL events should match the tc and reel #’s and everything should link now.

[Blase Theodore]

JP, yeah that has always been my experience. I was hoping someone else would magically have better experience.

Does anyone use the Avid roundtrip workflow on a routine basis? I suspect the project coming in will have much/all AMA. I’ve never had to deal with that in relation to resolve. Anyone have comments in that regard?

[Blase Theodore]

More likely than not, its a problem with FCP, which seems to randomly do this when creating XML’s.

Try importing the xml you originally kicked out of fcp and use the “show duplicate frames” feature to check against your orig.

[Blase Theodore]

Exactly. I also would love to see this.

[Blase Theodore]

Hey guys,

Sorry for the delay. I have updated and re-uploaded the files to my server. The original link should work now.
Good luck!

-Blase

[Blase Theodore]

Search this forum, the answer was posted a while ago, but I forget the specifics.
Basically you’re going into Activity MOnitor and killing a daemon process that locks the panel to davinci. faster than changing preferences.

[Blase Theodore]

A definitive answer if I’ve heard one. Thanks Mike.

[Blase Theodore]

If a new mac-pro does manage to make it out the door, it will likely have at least 3 PCIex16 slots, which will be enough to throw 2 expansion chassis’ on. At that point, we can beef that up to a 4k stereo system that will be good enough for the next 3-4 years.

That will hopefully be enough time for everyone to move from FCP to Adobe/Avid.

I think the Mac OS is clearly unrivaled, the perfect balance of good code base and well thought out UI. But the core dependency right now is FCP7/QT/Prores support. And thats gonna be around better or worse for the next 2-3 years.

[Blase Theodore]

Thanks Mike! Conceptually I understand the rgb mixer, but practically I use it as more of a black art than a science. Can you elaborate more on how you use it? In a warm image you’re lowering blue/blue and raising red/blue, but you’re not also raising green/blue?

Could you elaborate on the following, so I can more fully wrap my head around this?

– warm image
– cool image
– image with magenta cast
– image with green cast

Thanks!
Blase

[Blase Theodore]

I second this request for an emulated temp+tint control.