[Brittany Delillo]

Yeah, I double-checked to make sure it was a supported format. It is and I’ve read other people had success importing the files. Not sure what the deal is. Maybe the whole folder structure wasn’t copied over, causing it to fail?

Thanks for your help!

[Brittany Delillo]

Yeah, every audio take has a “Stereo” and a “Mono” version. Probably over 200 clips of audio in total. I think you’re right with the dual mono situation. I didn’t even think of that since there’s really no difference in the audio quality other than it being a little louder (from two mono channels combined into one).

What’s the point of creating two different types of audio files if they’re, at their essence, the same?

[Brittany Delillo]

Cool, then I’ll run it all through resolve first.

But, strangely enough, Avid won’t import the MXF files. It gives me this error when I try to AMA link to them:

If I try to simply “Import” the clip I get this error:

Thankfully I can run all of this through DaVinci. But why can’t I import the media into Avid directly? I thought it was a plug-in issue initially but I’m fully upgraded. Was the media copied wrong perhaps?

[Brittany Delillo]

Normally that’s what I’ll get, a stereo track with each mic on a separate channel, but when I look at the waveforms, they’re the same. The only real difference is one has two tracks and the other has one. I’ve added a photo of the audio stacked on top of each other for reference.

It seems I just have to decide which I prefer. The Mono is just the stereo collapsed to one track.

And what I meant about Premiere was in “Modify Clip” you can change the way it reads the Audio Channels, what the channel format is, etc. (https://larryjordan.com/wp-content/uploads/2014/02/Channels003.jpg) Wanted to know if there was an Avid equivalent of this.

[Brittany Delillo]

Thanks for the response Marc.

As always, planning for these situations way before post starts is crucial. Unfortunately, I was brought onto the job late in the post timeline, so I couldn’t have workflow discussions with the team.

You’ve confirmed my suspicions regarding 422. It seems the Red is the only format that will truly benefit from being 100% raw.

And yes, QT LT, hence why they wanted to redo the grade with more than a flattened QT export of their timeline (since it was based on proxy media).

Thanks again, Marc. Have a great weekend!

[Brittany Delillo]

Nope, no third party hardware. I uninstalled and reinstalled CC 2014 and the problem still persisted.

[Brittany Delillo]

I’m having this problem as well. Looking forward to a solution!

[Brittany Delillo]

Okay so an update on all this.

My project is 23.976. Some footage is 23.98fps, some is 24fps. I’m linking to AMA and then transcoding to ProRes Proxy MXFs. How can I go about transcoding all my media without having issues later on? It states that if I transcode this footage, I won’t be able to relink it back to the original AMA file, batch import, etc. Kinda limiting, no?

Some quick research online said I should create a new project at 24fps, AMA & transcode the footage in at a native 24fps, then import the bins into my 23.98 project. The only apparent difference is that the files are highlighted green in my timeline.

Any other suggestions?

[Brittany Delillo]

Got it. I was just referring to the menu item that I was clicking on, which was “Import”.

[Brittany Delillo]

Michael, thank you for your patience and the added explanation about how EDL Manager processes the information. It was that last bit about the REEL setting in Resolve that made the clips show up. I’m glad it was just user error and easily fixed.