LIBRARY: Tutorials Reviews Interviews Editorials Features Business Authors RSS Feed

Avid Video Mixdowns as DaVinci Resolve Sources

COW Library : Avid Media Composer : Scott Freeman : Avid Video Mixdowns as DaVinci Resolve Sources
CreativeCOW presents Avid Video Mixdowns as DaVinci Resolve Sources -- AVID Editorial

Los Angeles California All rights reserved.

I call this picture "Sequence Links to Master Clips, " was trying to illustrate that an Avid Sequence has a special link to edited master clips with metadata.

Media Composer v8.2 has DPX linking fun using an AMA-plug-in. Another uncompressed dream come true.

People have been asking my advice on what to do when an Avid video mixdown is going to be used as a source for the DaVinci Resolve Application.

I thought I would share my thoughts to help people with this metadata linking to essence art fun.

The Avid has a command once a sequence is loaded into the Record Monitor. Under the Special Menu is the "Video Mixdown..." command:

After the video mixdown command is completed. In the bin, a video mixdown master clip is linked to a mxf media file.

I put the video mixdown master clip into it's own bin.

go to the Bin Menu and choose "Set Bin Display..."

place a check mark by the word "Sources"

Example of default metadata embedded into the MXF Video Mixdown media file:

Example after metadata names changed:

Once done updating the "source" metadata and the master clip name metadata for the video mixdown, I like to go back to "set bin display" and deselect "Sources".

In the Avid Bin Select the "name" column and use the duplicate command to get the metadata into the master clip's "LINK" column. (The user makes a custom "LINK" column and this custom column must be revealed in the bin at the time the duplicate command is being used.)

I place the start timecode metadata into the master clip's "Auxillary TC2" column by selecting the "Start" column and using the duplicate command.

Once the metadata is prepared, I select the video mixdown master clip in the bin and choose from the clip menu the "consolidate" command.

Consolidate settings I like to use for this type of metadata situation. This will embed the current metadata into a new MXF Media File:

an example of some information about the video mixdowns in this bin:

Video mixdown master clips edited making a sequence:

In the Avid, I export the sequence as an AAF.

Below are the Avid AAF Settings I configured:

Next In DaVinci Resolve v11.1:

I configure Resolve Settings to use embedded "Source" name as the Reel Name for clips

In the Resolve Edit Page import the AAF.

The AAF becomes a Resolve Timeline.

Now the Artist has the DaVinci Tool Set to use.

Once done...

I go to the DaVinci Resolve Deliver Page:

Resolve Render Settings for Digital Picture eXchange for an Avid Online:

Now back to the Avid Media Composer:

Avid Media Composer "Color Management Settings": I like to keep these unchecked

"AMA Settings" for DPX online conform:I set-up the settings detecting metadata

To create master clips from sequential DPX files: The "Avid Image Sequencer (Folder)" AMA plug-in is my choice:

The master clips come into the bin. I duplicate metadata by clicking the "Start" timecode column heading. All the start timecode metadata for the master clips becomes selected in that column. Once the column is selected, I use the duplicate command placing that metadata in to the "Auxillary TC2" column:

For DPX AMA'd sources I duplicate the "Camroll" metadata to the "LINK" column:

In the Avid Bin select the DPX master clips at the same time as the sequence:

go to the "Clip" menu and choose "Relink..."

Relink Settings: select "Auxiliary TC 2" and "LINK" metadata

These DPX files are Avid native uncompressed and can be consolidated.


for some mixed framerate sources the Avid prefers that the user goes to projects that match the master clips format/frames per second when adding "Aux TC2" timecode metadata.

...Sometimes I need to clear the Avid Memory before a Relink Selected will work.

clicking the word "Info" in the Project Window:

"Clear Bin Memory" button:

I love testing playback of video out, and I need to roundtrip colors bars with the pluge pattern intact. So for DPX delivered out of Resolve in mind: Of all things since Resolve will clip black levels lower then 0, I will for this particular test pattern tell the Resolve that this clip is to be read at Data Levels.

In the media pool I select the color bars clip and right click to get to the "Clip Attributes":

In the Delivery Page for DPX creation select "Data (4-1019)" and then render it.

Now back in the Avid I make a new bin by clicking on the "New Bin" button in the project window:

I use the AMA PLUG-IN for DPX support:

In the bin I select the AMA'd DPX master clip

I go to the clip menu and choose "Source Settings..."

Add "Levels scaling (video levels to full range)" color transformation, and then click apply:

I hope this information is helpful.

for this online conform test I used Operating System Windows v8. need to do more tests...

For Resolve Online Conform I recommend: all source video files that the user loads into the Resolve media pool should be at least 1080 horizontal lines of video and up and use standard-frame-rates to calculate timecode metadata counting.

I do a lot of painting, and this one is my first watercolor, I painted when I was 14. I titled it "Ruins." I love the symbolism. When I got my first Avid job I had this painting hung on my office wall.


@Israel Diaz
by Scott Freeman
Two things about supplying the Resolve Media Pool / Timeline and an imported AAF from Avid Media Composer.
Depending on Resolve/Media Composer settings and workflow, current-default-automated-Avid-Master-Clip-linking-metadata-to-essence can have a factor.

There are two types of master clip link metadata that can get injected into an AAF ? And this link metadata becomes a-choice to use / if the user selects an import setting in the imported AAF. Resolve has dynamic settings that can sway essence and metadata in different ways.

Two types of default metadata links have two different master clip icons in the Avid Media Composer Bin.

Avid MXF Media Files link location metadata master clip icon


AMA Direct Link to Media location metadata master clip icon
notice the lock icon on the right side

two questions:

One: Source files links in the Resolve Media Pool, are those Avid created MXF media files perchance ?

Then you are injecting master clip metadata for round-tripping that is Avid created master clips that are linked to mxf media files.

The master clip icon image would not contain a vertical chain on the right side in the Avid Bin. These type of master clips can be created by first AMA-Direct-Link-to-Media and then performing the transcode command making "Avid native mxf media file" wrapper with a codec, linked to the master clip. If these master clips are used in the sequence, then that linking metedata is a default.

It sounds like you are moving mxf media sources after you render, maybe the current sources in the Resolve media pool are Avid mxf media files. Avid can have many active numbered folders in the MXF folder.

If using Avid created MXF files as the source for the Resolve Media Pool coloring sessions, use configuration of "embedded in source clip file". And keep the links from the resolve media pool to the mxf files by not moving them or reset up the parent directory structure command. Those mxf files that are in the Resolve MEdia Pool and are still being used by Resolve. Maybe that is what you are seeing ?

Also a note about once the media has the color correction baked-in and the mxf media files are rendered out, I suggest relink to the original Avid sequence. I suggest try Importing the msm to the bin creating links to Resolve rendered mxf media files. This is a good round-trip calibration tool for testing the systems too.

And now that both boxes except resolution independent sources Avid can do the resize, ifone chooses to do the resize in Resolve then in the avid sequence after a relink the resize effect would need to be removed for those segments.

Two: Source files links in the Resolve Media Pool, were those from Master clips that were AMA Direct Link to Media perchance ?

In the Avid Bin, perchance you AMA-Direct-Link-To-Media creating a master clip with the chain on the right side, and used those in the sequence, and then selected this type of sequence and exported an AAF?

Are the sources in the round-trip AMA-Direct-Link-To-Media master clips and not transcoded mxf media file link master clips ?

Are you round-tripping direct AMA link ingested master clips here ?

If so maybe, you already tried this? Maybe, a reel name conflict issue arises after updating pointers to new mxf media files?
If the "Reel Name" configuration in Resolve is the issue and the source ingested into the bin is an AMA quicktime movie, in Resolve use the "Reel Name" configuration "Source Clip Filename".

In the Avid Bin the AMA master clip for Quicktime Movie duplicate the master clip name metadata into the "LINK" column.

I would try this as a simple Avid Media Composer to Blackmagic Design DaVinci Resolve back-to Avid round-trip calibration test, to make sure everything works.

to note - On the Avid Side, I would relink to the original sequence and I would import the msm into the bin creating the master clip links to the resolve mxf media files. You mentioned you are rendering mxf media files.

The avid relink command, with three pieces of metadata for each master clip, can be used to relink matching metadata in the sequence to matching metadata in master clips regardless of what type of master clips (with the chain icon or not have the chain icon).

The relink to version technique is to select the master clips and the sequence at the same time and then use the relink command.

Each Master Clip in an Avid Bin viewed in Text Mode, matching metadata populated in these three columns to the original master clips that are edited in the sequence.
"Aux TC2"

I hope this is helpful information
Re: Avid Video Mixdowns as DaVinci Resolve Sources
by Israel Diaz
Hi Scott Freeman Thank you for this very comprehensive tutorials. I learned a lot with you. Also sorry for my bad english.

I have little doubt. I edit a sequence in avid (ama links) and send via aaf to davinci. I worked in davinci (grade,scale..) and I exported with roundtrip to avid in a new sequence.

Import in avid the aff and put the mxf in avid media files, all works great.

The problem is when I render another time the clips in davinci (same secuence, same parameters), few minutes after and replace in avid media files mxf files, I lost in the secuence all the clips (all red).

In this moment when I change any thing in resolve I must to reload aaf,delete the last secuence, lost all the filters.. uff is very heavy

if you dont mind explain me what are doing bad in the return of resolve many times with the same parameters, why Avid not respects the clips if have the same name, meta...

Thank you

Related Articles / Tutorials:
3 Columns for Flawless Conform. Every File. Every Time.

3 Columns for Flawless Conform. Every File. Every Time.

Avid editor and workflow consultant Scott Freeman sometimes has to conform thousands of clips in a single project. Get one of them wrong, and the whole thing falls apart. Follow along as he shows you the three metadata fields to keep an eye on for flawless Avid-Resolve roundtripping. Every file. Every time.

Scott Freeman
Avid: Third Party Integration and Collaboration

Avid: Third Party Integration and Collaboration

Avid announced updates to its line of products that focus on third party integration and collaboration, including a new Interplay MAM, ISIS 1000 shared storage and Avid Artist I/O device with third party support, and a free version of Media Composer.

Editorial, Feature
Kylee Peña
Avid Media Composer
The Art of Being Industrious: Dody Dorn ACE on Cutting Fury

The Art of Being Industrious: Dody Dorn ACE on Cutting Fury

Oscar-nominated film editor Dody Dorn is best known for her work on films like 'Memento' and 'End of Watch', with her latest film 'Fury' involving 16 Avids across two continents. Working her way up from switchboard operator, Dody brings decades of experience to the edit, with a personal advocacy for taking career risks and accepting any opportunity.

Editorial, Feature, People / Interview
Kylee Peña
Unbreakable Conform for Avid Symphony & DaVinci Resolve

Unbreakable Conform for Avid Symphony & DaVinci Resolve

There's nothing easy about roundtripping MXF files between Avid Symphony and DaVinci Resolve, especially if you want to keep handles intact. Longtime online editor Scott Freeman has come up with a way to actually make it easy, while automatically taming media management beasts. Best of all, the time savings are stunning: 8 hour conforms can be done in 4, and 40-hour media management marathons can be accomplished in seconds. Here are the steps for that, and so many other things that become possible as a result.

Editorial, Feature
Scott Freeman
Avid Dips Their Toes into the Subscription Waters

Avid Dips Their Toes into the Subscription Waters

Now Avid is dipping their toes into the subscription model and for editors everywhere, this is a GREAT development. Avid offering the subscription model plays well into the small shop / independent editor / independent post house extremely well

Editorial, Feature, People / Interview
Walter Biscardi
Avid Goes Everywhere with Collaborative Workflow Tools

Avid Goes Everywhere with Collaborative Workflow Tools

Flexible workflows put sharing and collaboration at the forefront of Avid's redefined toolset, and a subscription-based Media Composer options put the software within reach for many content creators.

Editorial, Feature, People / Interview
Kylee Peña
Learn Media Composer Lesson 93: Add Logos to Credit Crawls

Learn Media Composer Lesson 93: Add Logos to Credit Crawls
  Play Video
In this lesson, Kevin P McAuliffe shows you how to add logos to your title crawls, by introducing Photoshop to your Media Composer workflow. What might seem to be limitations inside of Media Composer can bypassed by unitizing the Marquee Title Tool! Once you see how easy this technique is, you'll be adding logos to every one of your title crawls.

Tutorial, Video Tutorial
Kevin P McAuliffe
Learn Media Composer: Michael Bay Film Look Part 1

Learn Media Composer: Michael Bay Film Look Part 1
  Play Video
In this lesson, Kevin P McAuliffe shows all the Symphony editors out there how to create a Michael Bay inspired film look right from within their Symphony timeline. Everything that is shown in this tutorial is designed to get you excited to stay in your NLE which not only saves you time, but will make you more money in the end!

Tutorial, Video Tutorial
Kevin P McAuliffe
Learn Media Composer Lesson 92: FrameFlex

Learn Media Composer Lesson 92: FrameFlex
  Play Video
In this lesson, Kevin P McAuliffe takes a look at the new FrameFlex feature inside of Media Composer 7. Ideal for working with large frame sizes inside of HD and SD timelines, this new feature is almost a hidden gem, as it's automatically added to your clips, once you drop them in the timeline. The trick for you is knowing how to harness its power.

Tutorial, Video Tutorial
Kevin P McAuliffe
Learn Media Composer Lesson 91: Transfer Modes

Learn Media Composer Lesson 91: Transfer Modes
  Play Video
In this lesson, Kevin P McAuliffe talks about Transfer Modes, or Blend Modes as they are more commonly referred to, and how even though most editors think that you cannot work with them inside of Media Composer, you actually have the tools right at your probably just don't realize it.

Tutorial, Video Tutorial
Kevin P McAuliffe
© 2018 All Rights Reserved