Michael Phillips
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COW Coin
Forum Replies Created
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One of the primary problems I see in the above screenshots is that TAPE is listed at mmob etc. that means that in Resolve the REEL was never properly set and was left blank. When it comes into Avid, it randomly numbers them mmob.1. 2 etc. The proper file name is only in the Name column which can be fragile if not duplicated elsewhere for backup. But this does not mean other issues might not crop up – first step it to properly set REEL in Resolve before making native MXF dailies.
Michael
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This may be for Markers import only, but make sure that the blue bar is at the head of the sequence. Hard to tell with the STL file what the issue might be, but with the txt file, does it adhere to the Avid DS Caption file format?
https://avid.force.com/pkb/articles/en_US/troubleshooting/en274573
Michael
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But this method does not show offline clips either, it will only create clips from the active media found in the Avid MediaFiles folder.
Something I do as a normal part of my “dailies” organization, whether it came from AMA or other, is for each day’s source elements (or however you choose to organize) I select all the clips and do an AutoSequence. I rename the sequence based on my organization, in this case it might be date/camera/card, etc. I then store those away in bins and their own folder for “historical archive.” It is a very quick process to do, and if I ever need to get back to my original sources, be online or offline, I can open those bins with sequences, and do a set bin display to show sources and get all my master clips back. And since they are sequences, I can also export AAF with media copy and other workarounds to lack of real media management system for project collation and archive that is more obvious.
Michael
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You are right that they are not being controlled at time of production, and it is most Sony XDCAM camera types of which a lot are being used – in Reality they love the BluRay based versions as it provides archive as well.
But a lot of NLE solution design is about handling user and equipment errors that can occur upstream whenever possible. This is a simple case of enabling AMA to select channels to be linked at time of linking. I would also suggest that the same control be available when consolidating transcoding, there is no control over A only or specific tracks without creating subclips and all the aforementioned workarounds.
For example, back in the early to mid-90’s when I designed the Film Composer to make sure it captured the proper frames from NTSC based sources, I made sure that it could do from the A, B, C, or D frames regardless of which timecode it fell on. The major competing system in this space at the time, could only do so when the “A” frame fell on timecodes ending on NDF 0 or 5. And while that was the recommended workflow, it was never a guarantee that it would be. So those productions needed to re-transfer and lose a day in the process. Producers start taking notice of those things.
Michael
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The only other methods take more time:
1. Load each clip into the source monitor, activate clips you want to keep and make a subclip back to the bin.
2. Highlight clips in bin and export an ALE, edit ALE Tracks column to only have tracks you want to keep, then merge ALE back into master clips creating subclips as a batch process. See related blog: https://24p.com/wordpress/?p=200Another long time request is to have additional AMA linking options to select desired tracks to retain when linking. Other than the above, that’s all you got for solutions unless someone else has an idea I have not heard about yet.
I will update blog per your findings, thanks.
Michael
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It’s been a long time request of mine to have source monitor have sticky active tracks regardless of when a clip gets loaded as an option.
That being said, it sounds like you are using XDCAM or something similar? See my blog:
https://24p.com/wordpress/?p=50
Michael
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Oh – and make sure you set the REEL ID correctly when making Avid media in Resolve. Many people leave this blank or wrong creating headaches later in conform.
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Glad it worked out!
Michael
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You want MXF OPtom, then select the DNxHD data rate such as DNxHD36.
You can’t import MXF OPAtom files into Media Composer. Since these are native, they can be copied directly into the Avid MediaFiles/MXF/1 (or any numbered folder)
I like to create a new numbered folder for each day’s dailies starting at 10 or higher.
Launch MC then in a bin, right-click import, and navigate to that numbered folder and import the msmMMOB.mdb file.
This will populate the bin with master clips.I do not trust AAF export for dailies when audio is involved. Sometimes it works, sometimes it doesn’t. But the method above should work for both picture and sound. I always recommend syncing audio in Media Composer as it makes Pro Tools workflow easier.
If you are using any other logged metadata from Resolve via ALE, be sure to merge it as per my blog:
https://24p.com/wordpress/?p=247
Michael
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It seems to me you have a sync map of your source media as a sequence/timeline in which you have created the sync relationships manually or using something like PluralEyes. It has been a long time request that Avid use this “sync” timeline and make a group/multigroup clip based on those relationships. The only way to see a 4 or 9 way split in the source monitor is by creating a group clip first, then setting up that view with the 4/9 button.
I hear very good things about this service: https://www.groupitforme.com/
It basically does what I describe above. It will take the AAF of your sequence and return you group clips all set to go. Take a look at their demo video and see if that is the solution you are seeking for your needs.
Michael
