[Glenn Sakatch]

Before we get into creative cow tech support, answer these questions please.

1 – Did you create Media for Avid using the round trip setting in resolve?

2- Did you create a new aaf using resolve?

3- What is the exact folder structure (copy and paste it if you have to) that your Avid media is living in.

4- Did you successfully get Avid to create a database for the media.
Do you see the database in the media folder? (The msmMMOB file)

5- Is this folder still called 777 or did you name it something else?

6- Have you dragged that msmMMOB file into an empty bin in your project? (is that media online?)

7-Do you have a folder called 1 in that Avid MediaFiles/MXF area?

8-Inside Avid, create a new title, anything, and have Avid create it onto the same drive that your media is living.

Glenn

[Glenn Sakatch]

As Joe said, filters and extra fun stuff might need a different workflow, but the basic workflow would be…

On your deliver page in Resolve, select the Avid Round trip setting. This will give you a default Avid MXF media preset. You can change the actual codec to 220 if that is what you want to deliver, and that isn’t what the preset is set to.

from there, tell Resolve to output you files into the correct file path. (you can do this after the fact as well, but it is just as easy to do it now)

What ever you use for your Avid Media drive, point resolves output to that drive, and have it place the files into a folder called something like 777
(just use numbers)

Once your output is done, you will need to create a new aaf file for Avid to read. Go back to your edit page, with your timeline open, and do a Timeline export new AAF command. (Its in there somewhere) Take note of where you save this aaf to, as Resolve has also created an aaf as part of the round trip function, but that list is less reliable, especially since you didn’t start in Avid.

Launch Avid, and you should see a database being built for 777 (if your file structure was done correctly)

Create a project at the proper frame rate and size, create a bin, and import your aaf from the “export new aaf” step.

Hopefully at this point you have a timeline with all your media colored and in tact. Personally, at this point, i would then go rename 777 to be a folder named after the project. (Project A Color from Resolve)

If you used filters that were not being baked into your avid output, you may need to export a flattened quicktime movie into Avid, or you could still call up your Avid round trip workflow, but change the button up top that says individual clips to Single file. I think that will bake in any funky filters you might be using into the mxf media clip.

You could then use an aaf list to get Avid to break up that flattend quicktime, back into the edit points, so that your timeline still represents all the individual edits, but you will lose any ability to put handles into your Resolve output by doing it this way. The procedure to get Avid to automatically break up the edit points is another topic all together.

Glenn

[Glenn Sakatch]

Two things. Your use of the term “link” is unclear, and i’m assuming you were able to play the files down on your system before shipping off the folders. Did you send him your project as well? (OK, maybe thats 3 things)

If the files are already in Avid Media form, and are in your MediaFiles folder structure…say a folder called 1…that folder should have a database within it, and that database is all you should need to read the files.

If he has your project as well, the files should just appear, as long as the database is correct. He might want to delete the database and get Avid to rebuild it…as long as the files are in a folder named with only numerical values, no letters.

This folder also has to be in the root of his drive with the correct naming conventions. /Avid MediaFiles/MXF/

If the files still don’t show up, he can then drag the database into an empty bin, and it will populate the bin with the clips from that folder.

IF the files still don’t show up, then we are going to be asking where they were created, and if your system read them properly.

You do not need to “link” to these files through Avid, if they are Avid MediaFiles

When you said he had trouble with some files, so he has already deleted them…how did he go about “refreshing” those files?

Glenn

[Glenn Sakatch]

Ahhh.I assumed you only had a mouse and keyboard.

The solution on DS was to slide the pen completely off the tablet surface…and then you would regain control.

Glenn

[Glenn Sakatch]

can you try a different keyboard and or mouse…could there be a stuck key somewhere?

Never had this happen on Avid. We used to get this on DS every now and then, and it had something to do with the tablet driver, but ive never had it happen on Avid.

Glenn

[Glenn Sakatch]

That is the one major advantage of background transcoding.
You can see what it has done, and see which clips (if any) failed.
Select them and redirect.

Glenn

[Glenn Sakatch]

As far as i know…and opposed to comment from Avid, it can’t be done.

I’ve always used DS or Fusion or After Effects or even Photoshop for this type of thing.

In a Ghetto workflow, you could rip the matte key apart in Avid. Expand the key container out, and remove both the fill and matte, and export them both as seperate elements.

Then recombine them in Resolve. In theory, the matte should hold up as an external alpha in Resolve.

Glenn

[Glenn Sakatch]

how grey is grey? I’ve done tons of stuff with pro res source on Avid and haven’t had any issues. Check your source settings on a clip in Avid and see if there is a color management being applied, or is suppose if you can apply a rec709 to help it look better.
This could depend on how it was flagged in the creation program.

As for linking, if your drives are fast enough you should be able to ama link to those prores files and start cutting.

You can also do an import, and if the prores files are the same setup as your project, Avid should do a fast import, which basically copies the clips to the avid media directory so you can start working.

If you want to make media in resolve for avid, mxf is usually a good choice. do a search for how to turn on the proper naming conventions so that the footage retains the proper metadata. (timecode and file name) or the trip back to resolve will be a pain in the butt.

DNX HD quicktimes should also work fine, and should also do a fast import.

Glenn

[Glenn Sakatch]

does connect do quicktimes? I haven’t used it for a couple of years, but it used to be limited to file sequences. (raw and maybe tifs)

Glenn

[Glenn Sakatch]

a common problem with lower end cameras. I’m seeing it a lot with drone footage these days.

Cameras (and operators) that use the same naming convention day after day on a shoot are a huge problem in post.

If I get a card with clips called DJI_001, DJI_002 etc on Monday, and then on Tuesday they give me a card with what appears to be the same clips, (and all the same timecode I might add) I immediately copy the card to my raid, and rename the clips something unique.(DJI_05_10_16_001.mov for example) That then becomes the “master” of the file, to be backed up the same way other media from the project would be archived. Two months, weeks or years from now, if I was to ask you to differentiate the clips that were shot on different days, simply by looking at the name and timecode, you wouldn’t be able to…so how do you expect the computer to do it?

DSLR footage with “generic” timecode should also be looked at for this same type of issue. If need be, assign time of day timecode to the clips.

Also in resolve you should see a little icon on the clip that is indicating that there are multiple matches for it,
(Yellow exclaimation mark?) and if you right click on it you should be able to select the one you want to use.

Glenn