[Glenn Sakatch]

I don’t think you’ve ever been able to open a newer version of a project in an older version of Resolve.
I’m pretty sure even going from 12 to 12.1 would kill it. Thats why it is so important to back up everything before trying a new version.

Glenn

[Glenn Sakatch]

Sounds like he received separate audio, but didn’t sync it up to video before editing.

I’m not sure you can do this easily.

If the audio timecode matches the video, you could try adding a custom column to the audio files, that matches the name of the video it corresponds to. You could then try to relink, audio only, a copy of your sequence, using the “all selected clips in open bins” method, pointing avid to use timecode and custom column as its reference .

I would try 1 clip and see if it works, before adding the data to all the audio.

Glenn

[Glenn Sakatch]

I’m with Shane, but couldn’t say for sure that Protools can’t do it.
So, just in case …

How big is the aaf you received from Protools, vs the one you sent? (if its tiny, then there is no media embedded in it)

Are you able to embed the audio in protools aaf the same way you did in the Avid output?

Check you Avid MediaFiles/mxf/1 folder. Do you see any files that were created when you brought in the aaf from Protools?

I, like Shane, usually just recieve a mix wave from the audio house out of Protools.

Glenn

[Glenn Sakatch]

everything comparable is either priced higher of on subscription

That hasn’t stopped them from dropping the price on Resolve. Hard to out guess where their pricing is going.

Unfortunately, I don’t think BMD does a lot of software creation, their model is to buy and tweak, so I wouldn’t hold my breath waiting for them to build a new motion graphics app.

Fusion and Resolve in 1 package would be nice, but they may need to sell a few more seats before they can say it is paid for, and now able to redistribute at a lower price point.

If they want to spend some more money, go ask Avid how much they want for DS’s code.

Glenn

[Glenn Sakatch]

Scott Freeman has done quite a bit of stuff on relinking, although for some reason, I think most of his posts have disappeared from the cow. I’m sure he is blogging online somewhere.

Glenn

[Glenn Sakatch]

I wonder if it has to do with your using omfi media rather than mxf media.

Most of us use mxf now, (and have for years), so I’m trying to remember any “gotchas” from the old list creation days, but none are coming to mind.

I don’t see why an external drive should matter.

You could duplicate your timeline, strip off the video, consolidate the audio to an internal drive and try again.

Glenn

[Glenn Sakatch]

looks like you have two copies of the media (low res & high res?)

How did you bring your media in?
Where did it come from?…did you consolidate or transcode to a new folder inside Avid, then make a list and bring it over, or are you letting Resolve search for media by itself.

I would suggest you start by cleaning up your media inside Avid. Ensure you only have the 1 final copy of the clips online. That should help with the confusion of what is and isn’t available to Resolve.

Remember its just a program, being asked to look for media based on name/tc etc. If you presented a persion with the same task, and two options, they would get confused as well.

Inside Resolve, manually bring in the media you want Resolve to look at before you import your list. When you bring in your list, deselect the box asking Resolve to automatically bring in media clips.

When prompted, point Resolve to the media you previously imported.
Hopefully that helps.

Glenn

[Glenn Sakatch]

Were you depending on Premiere to do frame rate conversions for you?

Glenn

[Glenn Sakatch]

Have you tried just going to your desktop, and then moving it over from there? If you do suspect the external drive, then the first thing I would try is a totally different location.

I always embed the media in the aaf, so I’m not great on “gotchas” when exporting the media separately.

I do find, converting the media to 24bit 48k, no matter what it starts out as, sometimes help to create clean media during the process.

Glenn

[Glenn Sakatch]

Your look will be fine.

Timeramps aren’t necessarily an issue, you just have to make sure Avid is choosing the best option for interpretation when it does the conversion, before you do your final export (or transcodes)

As for 23.976… i would never say shoot 29.97 instead. You have so much more versatility if you have a 23.98 Universal master on hand.

Thats how I usually work for long form. Edit 23.976, master 23.976, then use that master to create 59.94 masters or PAL masters. Michael Phillips has a great blog about importing a 23.976 master into a PAL project, and getting a beautiful Pal Master out of the deal.

23.976 to 59.94 is pretty straight forward, and the audio files from 23.976, will stay in sync for the Broadcast version.

One of my clients has insisted on 23.976 masters for years to work with any future distribution requests.

Glenn