[Oliver Peters]

[Michael Gissing] ” I take your point that AVID is not the sole driver of AAF but in my experience they have been the chief culprit of incompatibilities that I have experienced, both on the Media Composer and ProTools interchanges”

I would agree with that. I have more issues with AAFs to and from Avid than any other exchange. In fact AAFs exported from Resolve that don’t work in MC, show up OK in Premiere Pro. So for me, XML and OMF seem to be the most reliable these days.

– Oliver

Oliver Peters – oliverpeters.com

[Oliver Peters]

[Michael Gissing] “AAF is AVID and still being tinkered with”

Well, actually, AAF was developed by a coalition of numerous companies, of which Avid was one. (https://www.amwa.tv)

The problem with AAF was that in order to get buy-in from everyone, companies were allowed to carve out a portion and keep it proprietary. That generally would be effects data. So unfortunately AAF has never lived up to its potential. That is a common refrain with many attempts at common standards.

– Oliver

Oliver Peters – oliverpeters.com

[Oliver Peters]

What you describe is not normal, but seems to be an anomaly of the GPU. At times GPU acceleration versus CPU (“software only”) renders will yield slightly different results, especially with scaling. Sometimes the GPU render will be improved, when you enable all the “maximum quality” settings in the export dialogue window.

– Oliver

Oliver Peters – oliverpeters.com

[Oliver Peters]

You can use Project Manager within Premiere to consolidate your sequence, which will use the clips in the timeline, trimmed with handles. However, the clips will be transcoded and not in their native/raw codec. Certain codecs/formats/file-types will be copied in full and not transcoded/trimmed. You have to enable the alpha channels setting to make sure anything with an embedded alpha channel (like a graphic or animation) is properly consolidated.

– Oliver

Oliver Peters – oliverpeters.com

[Oliver Peters]

[Rich Rubasch] “let’s see what other apps Blackmagic might develop to begin creating a full suite of video post tools.”

I think BMD is going in the completely opposite direction. I would be greatly surprised if standalone Fusion survives more than a couple of more years. It seems like their whole focus is to fold everything into Resolve. That being said, BMD seems to have done a better job than the others in embracing the various exchange formats.

– Oliver

Oliver Peters – oliverpeters.com

[Oliver Peters]

There’s also this:

https://library.creativecow.net/freeman_scott/linkingmetadatatoessence/1

– Oliver

Oliver Peters – oliverpeters.com

[Oliver Peters]

Import the raw media first into your Resolve Media Pool. Then import the AAF as a timeline, but do not enable “automatic import” of media clips. It *should* then find all the correct clips. Audio will almost certainly be messed up. So get rid of all audio and use the exported reference movie’s audio track. You will probably still have to tweak some things. That’s the best case scenario.

However, I recently conformed/graded a RED-shot film cut by 3 different editors in MC. Ultimately it was all such a mess, that it was easier to manually overcut every clip in Resolve. In that case, I had to import with the Avid media so I could see TC and a reference image. Then replace each shot with the RED footage. (Thank goodness I started out editing as a linear online editor. ????)

– Oliver

Oliver Peters – oliverpeters.com

[Oliver Peters]

And speaking of September, the Apple FCPX page has been updated to mention some “coming in Fall” features. Mostly what we know from WWDC, like optimization for Metal and the XDR display. The screen shot does show mask qualifier controls on the color wheels page.

– Oliver

Oliver Peters | oliverpeters.com

Oliver Peters – oliverpeters.com

[Oliver Peters]

[Bill Davis] “Whoops. I see that Photo from a train trip about 9 months ago is flipped. I’ll fix it later if I have time. Lunch awaits before my train departs!)”

Are you sure the train didn’t derail? ☺

– Oliver

Oliver Peters – oliverpeters.com

[Oliver Peters]

[Brett Sherman] “I’m not sure there’s a real technical difference between compression and level riding.”

Actually there’s a ton of difference and you can hear it if you A/B the two. Compression essentially “squeezes” the dynamics by a ratio for levels over a threshold point. At an extreme ratio with an aggressive input level and threshold, you effectively hit a brickwall and lose all the “openness” of the sound. Riding the level simply adjusts the volume down when it is too high, preserving that “openness”.

For example, Waves offers both Vocal Rider and MV2 for the similar application of controlling dialogue fluctuation. MV2 compresses top and bottom. The results sound quite different. Sometimes one is preferable, sometimes the other.

– Oliver

Oliver Peters – oliverpeters.com