[Travis Marshall]

Now my preferred choice: Custom menu, under the video tab deliver a .mov file of choice for DAW reference (eg: 720p H264); under the audio tab, select ‘Output’ and set this to ‘TimeLine’ Track and allocate the 1st Resolve Track number; keep adding more TimeLine tracks via the plus button and allocate track numbers to match the Resolve Timeline audio tracks. eg, if I have 4 x stereo audio tracks in the Resolve timeline (say, wild camera, V/O, Music, FX) then there will be 4x Timeline tacks made under the Audio export menu. Linear PCM /24 bit.

Correct me if I’m wrong, Paul, but isn’t this multichannel Quicktime a flat file that severely limits what an audio mixer can do with regard to edits and fades? If you aren’t relying on any additional editing, and just mixing, I suppose it would work.

I’m amazed that a true AAF export doesn’t just use the original source audio files, but re-wraps everything… what a PITA.

4 Mac Edit Systems on QNAP NAS 10GbE storage system, 2 Mac Pro late 2013, 1 5K iMac 2017, 1 iMac Pro 2017.

Mac OS 10.11-10.13
DaVinci Resolve 14.2
Final Cut X 10.3

[Travis Marshall]

Hi Michael,

I used the Export to Pro Tools preset on the delivery page. I think because the WAV audio files were synced in the media pool to video files (replaced tracks with those external polywaves), it’s re-wrapping everything into MXFs (presumably to ensure sync?). I really wish it didn’t do that.

As for routing through X2Pro, we did try that but as you imagine the tracks did not correctly flag as roles in the XML, so it would present kind of a gobbled mess for a mixer.

I’ll keep experimenting, but it looks like the external audio sync is what’s the big issue here.

Thanks!

[Travis Marshall]

Can anyone update me on this? Currently working with an audio mixer who cannot bring my AAF into pro tools.

I’m on 14.2, and have a number of clips in my project that are video synced to external polywave audio files within Resolve. The AAF export just re-wraps them as MXF files that don’t play nice with Pro Tools. In an ideal world the AAF would either be one single file with media embedded, or at least a reference AAF with the original WAV files exported with handles.

Mac Pro 3 GHz 8-Core Intel Xeon E5, 32 GB Ram, AMD FireProD700
OSX 10.10.5, FCP 10.2.1

[Travis Marshall]

Thanks everyone for chiming in, and so speedily!

Our workflow for this distributor has always been export 29.97p ProRes to dup house, which handles captioning and dubbing everything to 1080i HDCam for the distributor. So they handle that side of the equation entirely.

The only difference this time around is the 23.98 source material.

I’m leaning towards just editing in 29.97 df so I can see everything on my monitors and not be surprised by the quality of the rate conform in export. So far in my tests FCP X has done a nice job with rate conform, especially with optical flow as the sampling method. I think unless there’s a compelling reason why this isn’t a good idea, I’m going to go with this option.

Mac Pro 3 GHz 8-Core Intel Xeon E5, 32 GB Ram, AMD FireProD700
OSX 10.10.5, FCP 10.2.1

[Travis Marshall]

Thanks, Brett. I’ll definitely be exporting 29.97p for the dup house to do packaging, but our public television distributor broadcasts in 1080i.

If I edit natively, will timing of the final export be slightly different, though? When an act needs to end and go to black at a 0, or a program needs to end precisely at 01:56:46;00, will that line up if I do the conversion on export?

Thanks!

Mac Pro 3 GHz 8-Core Intel Xeon E5, 32 GB Ram, AMD FireProD700
OSX 10.10.5, FCP 10.2.1

[Travis Marshall]

The delivery spec is 29.97 drop-frame for broadcast distribution. As far as I have ever known, the only way to go from 23.98 to 29.97 is to apply a 3:2 pulldown either in a third-party encoding program (back in FCP 7 days) or within an NLE (I believe recent versions support the automatic pulldown).

Mac Pro 3 GHz 8-Core Intel Xeon E5, 32 GB Ram, AMD FireProD700
OSX 10.10.5, FCP 10.2.1

[Travis Marshall]

Awesome, Bret. Thanks for the tip! Fixed it right away. Never really needed that separate space idea anyway.

Mac Pro 2x3Ghz Quad Core Xeon, OSX 10.6.4, FCP 7.0.2
Kona LHe, Panasonic AJ-HD1400 VTR

[Travis Marshall]

Any news on whether this has been fixed. I’m dipping my toe into the FCPX water (still using 7 and MC, but more clients of our company have questions re: FCPX so I need to get familiar with it).

This is really the one big thing that wouldn’t work for me on most my projects. I need to have five angles synced together, with the easy ability to slip the video only on an edit without interfering with the main audio.

[Travis Marshall]

Hi Everyone,

Thanks for all your feedback on this. The thread kind of got away from me for a while, and I got into edit mode for the last six months. It’s now time to master 13 shows and I’m remembering this problem. Nothing much has changed, but I will recap the situation:

I have a show shot originally on Varicam at 720P 30. Half the show was digitized via firewire by an assistant, and the other half was digitized by myself using the Kona LHe and a custom Final Cut capture setup created on advise from AJA technical support. The custom setup removed the VFR frames coming in through the Kona to give me 29.97 media (this was done to match the FW-digitized media, as well as to keep from doubling file sizes with 59.94 clips for no reason).

I need to master the shows via Edit to Tape back to DVCPro HD 720p 30 using the Panasonic AJ HD 1400. I’m going SDI out from the Kona to the deck, and am using an AJA Gen10 for reference, set to the standard configuration (720p 59.94 — although I have tried changing the dip switches to the 29.97 setting). Deck control is set to AJA Kona LH 59.94 Panasonic VTR. Output is set to AJA KonaLH 720p59.94 8 Bit (1280 x 720).

I can black tapes without any problem, and the deck is seeing video and audio through the SDI in. However, when I move to Edit To Tape, set my in points and Assemble the deck cues up, the edit light goes on, but after a few seconds stops down. Final Cut gives me the error: “Unable to lock servo on deck. Please adjust device pre-roll settings and try again.”

I have changed pre-roll any number of times to varying lengths with no change in the error. I’m in touch with AJA support, but they haven’t figured out the problem yet.

I’m completely confused as to what is causing the problem here — though it’s clearly with device control. The RS-422 cable works fine cuing up the tape and for digitizing, so I don’t think that’s the culprit.

I’m hoping to refresh this thread and see if the collective wisdom of the Cow can help me out. Thanks, everyone!

Mac Pro 2x3Ghz Quad Core Xeon, OSX 10.6.4, FCP 7.0.2
Kona LHe, Panasonic AJ-HD1400 VTR

[Travis Marshall]

Thanks for clarifying.

I set 032 back to normal and change 031 to Input and pulled the Gen10.

Still getting the same problem.

Could it be the deck? We’re getting our 1200A back from service in a few days, so I could try that once it’s here.

This sure has been a frustrating problem… Thanks again for everyone’s help so far.

Mac Pro 2x3Ghz Quad Core Xeon, OSX 10.6.4, FCP 7.0.2
Kona LHe, Panasonic AJ-HD1400 VTR