[Michael Phillips]

See my blog:
https://24p.com/wordpress/?p=50

Michael

[Michael Phillips]

If you’re making Avid media in Resolve, you absolutely need to assign a REEL as that is what gets embedded into the MediaFile as “Tape” and will be used for relink, lists, dupe detection, etc. This is a fundamental error done by users with little to no experience in the post process compounded by the fact that there are videos showing you how to do it wrong… grrrrr.

The fact that is shot 4K or 1080 has no bearing on the REEL and conform process. Proper REEL assignment is essential regardless of resolution. If you are in 8.3 for example, you might consider making 4K compressed dailies and work in 1080 to have FrameFlex capabilities etc. But those workflows also take planning.

Make sure you have REEL assigned. If you want to mimic what Media Composer does, then make sure “assist conform” is set to using clip’s file name.

As far as audio is concerned, you can sync via the timeline as you mention, then subclip each segment out and AutoSync those, or just mark the source clips with a Mark IN and sync two at a time with AutoSync, or if they have common timecode, just select all video and audio clips and use AytoSync. If you use PluralEyes (even their free 30 day trial) then refer to my blog on the topic:

https://24p.com/wordpress/?p=218

Michael

[Michael Phillips]

There is a handful of codecs that are considered “native” to Avid and only require a consolidate. Also, if I am working on a smaller project where I decide to transcode only once to my final quality, I may just do that directly in Media Composer via AMA link/transcode.

When it comes to double system audio, regardless of project types, I will always do it in a 35mm film project to have the ability to 1/4 frame slip sync as I mention in my blog:

https://24p.com/wordpress/?p=16

But for features, I always start in a dailies type product such as Resolve. From there I may decide to bake in color LUT for offline. But more and more I just transcode “LOG” and use a standard LUT or create a LUT in Resolve to use in Media Composer, or may use ASC CDL as color metadata. This way I can change the look and feel as a batch process working with my colorist as I edit. “Color as metadata” is changing the way productions can now look at how they approach the whole process. Even with an offline/online process.

Michael

[Michael Phillips]

I think different workflows don’t necessarily needs to start in Resolve, but when I hear “feature film” then yes, start in a dailies type program.

I wrote this whitepaper for Avid a few years back for v7 when released but has not been updated for all the changes in v8.x:

https://www.avid.com/static/resources/documents/whitepapers/digital_camera/digital_camera_workflow_whitepaper.pdf?elq_mid=10041&elq_cid=10546672

Michael

[Michael Phillips]

With feature films, I would recommend a dailies workflow common with features. If you are familiar with Resolve, then do it there to an MXF/DNxHD 36 offline codec. Make sure to set the REEL in Resolve to ensure smooth conform later in Resolve or any application.

Is there jam synced timecode for audio (assuming double system)? Or will you be using something like PluralEyes? If so, then when making dailies decide what you want to do with audio on the source files if any. And if so, see my blog on the process with MC:
https://24p.com/wordpress/?p=218

Michael

[Michael Phillips]

Mark and In and Out for each span of timeline for which you want a new clip from. In this case, video span. When you make a subclip it will become a single event sequence. Hilight that sequence and select “AutoSync” from the Bin menu. It will become a subclip, and in sync.

Michael

[Michael Phillips]

You can:

1) Highlight sequence and select consolidate/transcode from menu (then transcode in dialog box). Apply handles as needed and it will transcode to a codec/data rate of your choosing. Depending on version of software and project type, you may be prompted to transcode/convert to project frame rate and raster.

2) Move sequence to its own bin. Set bin display to show reference clips. Sort by clip and move all master clips to their own new bin. Depending on version and project type, and if you want to keep original frame rates, move the clips back to their proper project type and transcode, then bring clips back. Or transcode with conversion to project frame rate.

3) I always opt to take the transcode hit up front. As much as I want to believe the “edit right away” marketing message, there are too many factors working against it.

Michael

[Michael Phillips]

I’m guessing that PPro shows it as it does have CC support. But $99 is a great price for all the functionality that DrasticPreview provides.

Michael

[Michael Phillips]

James – that was going to be my first suggestion, but the OP wanted free…

Michael

[Michael Phillips]

Trial version of Adobe Premiere Pro?

Michael