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

COW Library : Avid Media Composer Tutorials : Scott Freeman : 3 Columns for Flawless Conform. Every File. Every Time.
CreativeCOW presents 3 Columns for Flawless Conform. Every File. Every Time. -- AVID Tutorial


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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.



In my world, I can deal with thousands of clips at a time. If even one clip, a single frame does not relink in conform, the whole thing can fall apart.

I am about to show you the three bin metadata fields to track for flawless conform in your roundtripping between Avid Media Composer and DaVinci Resolve. Every frame. Every time. Ideally, you will set up these fields correctly before you begin. If something goes wrong because you didn't, the information in these three fields are where you'll be able to fix the problems you may have.

Simply avoid any problems by learning where these three fields are. Train your eye to watch for them, manage them consistently, and you will be able to use "metadata" (information about media displayed in the bin columns) to manage "essence" (the actual media) in your Avid-Resolve round trips for flawless conform.

This elegant method avoids a classic problem that occurs when someone relinks a sequence back to the original Avid master clips instead of the wanted and much needed Resolve renders. The key is to take control of the metadata from the very beginning.


Those three metadata fields are:

  • FPS
  • Auxiliary TC2
  • LINK



You will use them for each Master clip, while selecting both the Master clips and the Sequence.





You can see from two of the fields, Auxiliary TC2 and FPS, that frame rate might have something to do with this, and it does. Now that Avid 2K projects and above support transcodes at the source file's FPS, matching the FPS in Resolve and Avid is imperative.

I keep wishing I could type in an "FPS" value directly into Avid. I haven’t found that path yet, but I am on the search! In the meantime, I cannot stress this enough. A timeline and sequence can be made up of any and all FPS sources – but the FPS of both Resolve and Avid on a per master clip level have to exactly match for a Relink back into the Avid.


This article is near and dear to my heart. In 1997 I took an Avid Certified class where Avid taught me the "Relink Selected Versions Command" using tapeless sources for low-quality to high-quality sequences, offline to online graphics versions, etc. I was taught five things make up that Relink, and have been on the mission to slim it down to three, which is what I have done here.

I dreamed of this day and night, picturing an endless-lane highway of trains that are each in a lane measured in frames per second. What happens when the trains change from 29.97 fps into the 25 fps lane? I have really been trying to test and keep track of every video frame that these metadata fields will reveal to me!

As you scan down this page, what follows may look complicated. That is only because, instead of skipping things that other tutorials think you SHOULD know, I want you to see everything you NEED to know.

In fact, this really is a very simple approach using just those three metadata columns per master clip. Pay attention to those three columns, and you will have all of the power to make the Avid Relink Command do exactly what you want it to.

(A final note before we begin: the path I am illustrating is Avid Media Composer v8.3.1 to Blackmagic DaVinci Resolve v11.3.1, and back to Media Composer v8.3.1.)




IN AVID MEDIA COMPOSER


Step 01: Go to the "File Menu" and choose the "AMA Link…" command. Select a source file on the storage device. A master clip is created in the Avid Bin.







Step 02: In the Avid Bin, click on the column heading titled "Name". The metadata in the "Name" column becomes selected for the master clip.







Step 03: While the "Name" column is selected, go to the "Edit Menu" and choose the "Duplicate" command. The "Select" window appears.







Step 04: In the "Select" window, from the displayed list, click on the "LINK" heading to select it. Click the "OK" button at the bottom of the "Select" window.







Step 05: In the Avid Bin, click on the column heading titled "Start". The metadata in the "Start" column becomes selected for the master clip.








Step 06: While the "Start" column is selected, go to the "Edit Menu" and choose the "Duplicate" command. The "Select" window appears.








Step 07: In the "Select" window, from the displayed list, click on the "Auxiliary TC2" heading to select it. Click the "OK" button at the bottom of the "Select" window.








Now the master clip is ready to be cut into a sequence. Cut the master clip into a sequence.




Step 08: Select the Sequence in the Avid Bin.








Step 09: Go to the "File Menu" and Select "Export…"








Step 10: AAF Export Settings Video / Data Details Settings








Step 11: AAF Audio Details Settings







There! Now on to DaVinci Resolve.




IN DAVINCI RESOLVE


Step 12: In Master Project Settings > Under Conform Options > Choose Assist using reel names from the: Source clip filename. Mixed frame rate format: Resolve.








Step 13: Import the AAF. Put a check mark next to "Automatically import source clips into media pool"
Mixed frame rate format: "Resolve"







Step 14: Clip is added to the media pool and a timeline is created.







Linked! Now, on to grading.



COLOR-CORRECTION AS NEEDED


Step 15: Go to the "Delivery Page" and click on the "Advanced" tab.


In Render Settings
  • Render timeline as: "Individual source clips"
  • Video Format: "MXF"



Under "File" Section
  • Place a check mark next to the words "Render unique filenames"
  • Next to "Render to:" click the "Browse" button and select an Avid MediaFiles/MXF/1 and then change the 1 to 100 so Resolve will make a new folder to contain the render.



Under "Options" section
  • Add: Frame handles. This workflow supports any handle length so you get to decide.








Once the desired selections are in place at the bottom of the Render Settings, click on the "Add Job to Render Queue" button.

Under the "Render Queue" click on the "Start Render" button.



And now for the return trip!



BACK TO MEDIA COMPOSER


Step 16: Create a new bin and title it "Resolve_Essence". Select the bin and go to the "File Menu" and choose the "Import" command.







Step 17: Navigate to the numbered "100" folder and select the "msmMMOB.mdb" file.








Step 18: In the "Resolve_Essence" Bin, click on the column heading titled "Tape". The metadata in the "Tape" column becomes selected for the master clip.








Step 19: While the "Tape" column is selected, go to the "Edit Menu" and choose the "Duplicate" command. The "Select" window appears.








Step 20: In the "Select" window, from the displayed list, click on the "LINK" heading to select it. Click the "OK" button at the bottom of the "Select" window.








Step 21: In the Avid Bin, click on the column heading titled "Start". The metadata in the "Start" column becomes selected for the master clip.








Step 22: While the "Start" column is selected, go to the "Edit Menu" and choose the "Duplicate" command. The "Select" window appears.








Step 23: In the "Select" window, from the displayed list, click on the "Auxiliary TC2" heading to select it. Click the "OK" button at the bottom of the "Select" window.









Step 24: Duplicate the original sequence and place it into the "Resolve Essence" Bin.



Step 25: In the Project Window click the "Info" tab and then click the "Clear Bin Memory".








Step 26: Open up the "Resolve_Essence" Bin and select the Sequence and the Master Clip.









Step 27: Go to the "Clip Menu" and choose the "Relink..." command. The "Relink" window appears.







Select the following and click on the "OK" button.






See? Just three columns: FPS, Auxiliary TC2, and LINK. Done.


BUT MATCHING FRAMERATES IS IMPERATIVE.

I said this earlier, but I will remind you again. Now that Avid for 2K and plus projects support transcodes at the source file's FPS, matching the "FPS" in Media Composer and Resolve is imperative.



I should also mention one more advantage to this three-column approach:


NON-DESTRUCTIVE METADATA

Specifically, the strength of using the Auxiliary TC2 columm in the relink is that it is non-destructive to the start timecode metadata of the source clip!

Especially if one master clip is drop and the other master clip for some reason is non-drop, the Auxiliary TC2 metadata is just that lovely path that glides the master clip to the sequence. Just pick a timecode number as that connection force, and place it into the Auxiliary TC2 column for both the master clips in question.

If this metadata management is done at the first moment when the master clip is created, then the user can maintain clean columns of metadata that are safe when transcoding and consolidating.

I have been speaking about a Media Composer - Resolve - Media Composer round trip, but this is an awesome AMA workflow if the Avid user wants to stay inclusive to Avid for the online conform and color. You can AMA, then transcode, then re-AMA, relink to the Avid Sequence, and then retranscode thus staying Avid inclusive -- while at the same time, still using this technique to go to Resolve and back again, again and again, for endless deliverables that meet specifications both invented and yet to be invented.

The Avid Relink Command works!!!




I like to end my tutorials with my artwork. This picture is my attempt to show that some people run away from technical problems, while others stay to solve the problem.

I have a lot of compassion for people when dealing with computer editing technical problems. What’s great is that everyone benefits when the problem gets solved.




Comments

@3 Columns for Flawless Conform. Every File. Every Time.
by Stephanie Neroes
So, I was able to attain the video files online without a hitch. My problem is that the audio files will not relink. I import the aaf and mdb files..I have video. No relinking necessary. As for the audio, it originated in Premiere Pro (the whole sequence originated in Premiere Pro) and the audio files were synched to the video files causing the clips to export as a sequence. Once the audio files are imported into Avid, I have to AMA link each one manually. I can't do a batch relink. Any ideas on how to remedy this? In the bin, the tape name is prefixed with the sequence name. The only thing that differentiates each one is a .numerical suffix. The starting timecode on every clip is 00:00:00:00 and when I try do to a batch import, I get an error message stating that I cannot batch import mixed-rate clips.

I appreciate anything you have to offer.
Re: 3 Columns for Flawless Conform. Every File. Every Time.
by Richard Quinn
Thanks for the message Scott. I appreciate your can do attitude. My camera purchase decision has moved forward and I am now in the process to begin working with Sony's latest gadget PMW FS7.

It is a 4k camera that has a few different codec options. The principle one I am trying to begin working with is XAVC Intra 100mbs.

If you can check it out for roundtrip possibilty between Avid and resolve and give your thouhts/advise I would be most grateful.

I am attaching a sample of about 5 or 10 seconds of footage from the camera.

I am grateful for your pioneering work on this subject and sure that infinite numbers of hours are saved through your ingenuity.

kind regards,
Rich Quinn
@ Richard Quinn
by Scott Freeman
testing out metadata linked to video essence round-trip reconform with some MXFs from model "PXW-FS7", this is what I got so far, I hope this is helpful


Sony PXW-FS7 camera with small duration mxfs.
Thoughts: Keeping native width and height for the round-trip reconform for metadata linked to video essence.


Specifications of what testing with

- model camera: Sony PXW-FS7

- Media Composer v8.4.1 with Symphony Option
with AMA Plugin: SonyXDCAM_64bit v3.4100.0.470

I found this PXW-FS7 AMA Sony Guide at this url:
http://www.sonycreativesoftware.com/pdzk-ma2#system_requirements

I downloaded the AMA plugin Sony PDZK-MA2 v3.41 at this url:
http://www.sonycreativesoftware.com/download/pdzk-ma2#download

- "Source clip filename" Reel Name with DaVinci Resolve v12.1 for the PXW-FS7 original camera masters


- Mac OS 10.10.5




Inside Media Composer v8.4.1

AMA Plug-In Sony PDZK-MA2 v3.41 Path Results and then edited into a sequence:



FPS: 29.97
Raster Dimension: 4096x2160p
codec: XAVC 4K Intra VBR Class 300


FPS: 29.97
Raster Dimension: 3840 x 2160
codec: XAVC Long GOP QFHD 50 Mb/s


FPS: 29.97
Raster Dimension: 1920x1080p
codec: XAVC Intra 100 (HD1080p)


FPS: 29.97
Raster Dimension: 1920x1080p
codec: XAVC Long GOP HD 50 Mb/s


FPS: 29.97
Raster Dimension: 1920x1080p
codec: XDCAM HD 50Mbits (1080p/29.97)


FPS: 23.98
Raster Dimension: 1920x1080p
codec: XAVC Intra 100 (HD1080p)


FPS: 23.98
Raster Dimension: 1920x1080p
codec: XAVC Long GOP HD 50 Mb/s




I have attempted to test out a few different project format presets. Here is a snap shot of one project format preset:




Inside DaVinci Resolve v12.1

Media Pool populated with the Sony PXW-FS7 MXF camera originals using the "Source clip filename" reel name.


In Resolve the user imports the AAF and or EDL creating a Timeline Edit Index.




Inside Media Composer v8.4.1
relink resolve essence to original avid sequence




retest Note for any file type: codec and wrapper type is something I like to (re)test-out before starting reconforms. spanned or non-spanned files is important to test out and here I tested non-spanned files.
Re: 3 Columns for Flawless Conform. Every File. Every Time.
by Ray McClure
This is awesome!!
Will this work after the fact?
I have a short 10 minute piece and I followed all your instructions and everything is working up to the very last step. My bin contains the sequence and the Resolve corrected clips but they won't relink.
I am using MC 7 and Resolve 12.
~R
@Ray McClure
by Ray McClure
I noticed that sources for the sequence didnt contain the data that I copied, perhaps because I had already transcoded them? So I copied the data into the sources like I did to the clips. Then tried it again.
I noticed that Resolve had nothing in the Reel column, thats when I realized I missed the "Assist using reel names" in step 12. The only other difference was that I could not choose "Use commercial workflow", it was greyed out.
I did all the other steps this time importing the mdb file (not the aff file) and tried relinking again with the same result. I get the message "No clips were relinked". My clips are corrected but they dont relink to the sequence.
@Ray McClure
by Ray McClure
It works with AMA linked files!!!
I will have to change my workflow. I wish I could get it to work on my current project which is already transcoded.
Commercial workflow wasnt greyed out this time. Go figure. I saved the export page so it should work from now on. Yay!
~R
Re: @Ray McClure
by Scott Freeman
If your consolidated/transcoded media master clips have ".new.01" at the end of their names.
In the relink command window the user can choose to omit these end characters to hopefully create the metadata match needed for the relink command.
Re: 3 Columns for Flawless Conform. Every File. Every Time.
by Anastasia Cipolla
HI Scott,

thank you for your post.
I implemented most of your suggestions and were able to create a functioning EDL (canon 5D footage transcoded to prores 23.98- 59-94 fps) to send over from Avid 8.4.1 to Resolve 12 (edited dnxhd115, colored prores). This was the first time experimenting with both newly released versions of both softwares on an imac, os yosemite with AMD Radeon R9 M295X 4096 MB graphic card.

After grading I tested the avid roundtrip workflow and created appropriate dnxhd mxf's. But once in Avid with aaf loaded I got several error messages, in the order: pmm mismatch media wrong format, assertion failed:I_ecpectedBounds.GetReslution...,and the classic FATAL ERROR. Never crashed, but I could not play back.
I 'fixed it' exporting an unique mxf that worked, but of course this is not the preferred way to go.
Please let me know if you have any tips, and thanks again for sharing your knowledge!
Re: 3 Columns for Flawless Conform. Every File. Every Time.
by Michael Phillips
First thing to try is not to include audio with your video when coming back from Resolve.


Michael
Re: 3 Columns for Flawless Conform. Every File. Every Time.
by Anastasia Cipolla
Hi Michael,

agree, the media was audio free.
Re: 3 Columns for Flawless Conform. Every File. Every Time.
by Michael Phillips
Next question: Were you creating media that matched project XY resolution?


Michael
Re: 3 Columns for Flawless Conform. Every File. Every Time.
by Anastasia Cipolla
Yes, same frame rates, size, all matching.
@Anastasia Cipolla
by Scott Freeman
Thank you so much for taking the time and checking out this round-trip tutorial.
This tutorial support EDLs. I love EDLs and AAFs.

Each file type is something I think about a ton and here is a link to a concept based on file type in and out of avid with the source icon metadata. I am trying to explain what I have tested.
http://blogs.creativecow.net/blog/13864/the-art-of-predicting-the-metadata-...


Avid created DPX files for a reconform in Resolve is something I am currently testing. I am placing Avid created DPX sequential files in folders that I am using for the Resolve Reel Name Extraction. I am also testing C300 spanned files. Reel Name configurations in Resolve are key to match the LINK column in Avid for this reconform round-trip tutorial.


When talking with you, you told me that you used the Resolve AAF Round Trip Preset and imported that AAF into the Avid Bin for video playback. You also told me you did not create any edits in Resolve v12. I suspect this means you do not need to use the Resolve created AAF back in the Avid. I suspect you are getting those error messages from the imported AAF that Resolve made.

I recommend step 17, importing the Avid msmMMOB.mdb into the Bin and then relinking those master clips to the original Avid sequence that created the original AAF. This should avoid the errors you are seeing and maybe give you exactly what you want. The color baked-in video playing back in the Avid Media Composer. Since you said on the phone you are only doing color in resolve and not editing in Resolve, there is no need for the AAF from resolve. You can relink the Resolve rendered MXF OP-Atom files to the original Avid sequence.





I just tested an AAF using the Resolve Avid AAF Round-Trip Preset from Resolve v12.0.1 into Avid v8.4.1 on a mac 0s 10.10.5 and here is what I saw just now:

If I import the Resolve AAF into Avid, sometimes when playing back the sequence
I get:
Exception:
@ Tue Oct 27 21:42:39 2015
• Exception: CM_OFFSET_OUT_OF_RANGE, offset:101, range:88

sometimes it plays, sometimes it does not.
there is also a A3 track where there was only video in the timeline
and the video instead of being on v1 is on v2.
if I delete the audio track in this sequence I get better playback conditions. But there is this metadata timecode changes below that really keep me from staying away from importing an AAF from Resolve to Avid currently.

These sources are start timecode metadata that the act of importing the Resolve AAF changed the original timecode that i put in ()

event 01 fps 29.97) Source In 02:00:21:28 (video is from 01:00:11:03) at Record In 01:00:00:00
event 02 fps 29.97) Source In 02:00:46:06 (video is from 01:00:23:06) at Record In 01:00:02:02
event 03 fps 23.98) Source In 02:00:21:17 (video is from 01:00:10:23) at Record In 01:00:02:22
event 04 fps 23.98) Source In 02:00:09:05 (video is from 01:00:04:17) at Record In 01:00:03:20









some thoughts


Step 1 to Step 7 in this tutorial, specifically, is Avid user Master Clip Metadata Management for the Avid Relink command to reconform the sequence to master clips.

Step 16 to Step 24 in this tutorial, specifically, is Avid user Master Clip Metadata Management with the Resolve created MXF OP-Atom files for the Avid Relink Command to reconform the sequence to master clips.




In Avid we have a sequence that lives inside a bin:


Steps 25 to 27 Relink a Sequence to Master Clips for a reconform explained further:

As of Avid version 6.5, the user can select in the Relink Command Window a custom column populated with metadata and that is what the "LINK" column facilitates. "LINK" with "Auxiliary TC2" columns populated with metadata for master clips are Avid specific columns I am using to have the Avid relink the master clips in the sequence to versions of master clips defined by a user selection. Reconform at anytime.
In Resolve for Avid round-trips the user selects a specific Reel Name extraction that strategically matches this "LINK" column. DaVinci Resolve does not use the "LINK" column that was made in the Avid Bin. DaVinci Resolve uses a user defined "Reel Name" and the Resolve "Reel Name" gets embedded into the render MXF OP-Atom files. And since these are Avid Media Toolkit also known as A.M.T., the Reel Name in Resolve, the Avid when importing the msmMMOB.mdb becomes the "Tape" populated metadata for the Avid Master Clips in the Avid Bin. That is what steps 18 thru 24 are for, preparing the Resolve created MXF OP-Atom files for the relink command with "LINK" column and "Auxiliary TC2" column populated metadata.









After Step 1 thru 7 thoughts:

If the Avid user would like to transcode making mxf files, this would be where to do the Avid transcode command. At anytime take that master clip metadata management done in steps 1 thru 7 and that is such a strong metadata bond that the user can relink a sequence to any versions of master clips with this prepared metadata.



One can take the Avid Sequence anytime downstream and create an AAF and/or an EDL to send to Resolve. EDLs are also currently a great solution to add a new track to an already created Timeline in Resolve.


AAF Creating:
Step 8 to Step 11 in the tutorial --> In Avid to send the edited sequence to Resolve v12.0.1.
---> The user can export an AAF composition by selecting the sequence in the bin, going to file menu and choosing export. In the Export Settings AAF window for Export Method choose "Link to (Don't Export) Media". Place a check marks next to the words "AAF Edit Protocol" "Include All Video / Data Tracks in Sequence" "Include Audio Tracks in Sequence". Those are the settings.





and/or EDL: here is creating an EDL In Avid example

EDL Creating:
Create the Avid EDL used for a Reconform and or add "Import EDL to new track..." to a current Timeline for a round-trip path:

EDLs are supported and helpful for round-trip
In Avid going to the Output Menu and choosing the new List Tool. In Avid, one can either drag the sequence icon from the bin and drop it in where it says "Sequence: Drop sequence or press load", or load a sequence into the Record Monitor and click the "Load..." button.


In the EDL, I prefer for most lists the Output Format: "File_129" as the EDL Template. In the Formatting tab I deselect "Optimize EDL" and for "Reel ID Type TC" I select "Source File/Tape" is what I was telling you about where the Avid pulls from the master clip's source icon name metadata that matches the embedded reel name in the matching Avid transcoded mxf file. Under Tracks select the track and then click the "Preview" Button. To save the EDL, choose "Save List"










maybe a round-trip test example can help with understanding this stuff:
In an Avid Project Format:1080p/23.976 (since you said you were editing at DNxHD 115, I made a 23.98 1080p project)

For this example, a simple mixed-rate sequence edited in Avid and then creating in Avid both an AAF and an EDL for the creation of the Resolve v12.0.1 conformed Timeline:


Step 1 to Step 7 in the tutorial --> AMA to quicktime movies . For my test 1 clip source is at 29.97 fps and the other at 23.98 fps.

Then in Avid I transcoded the AMA Master Clips creating a version linked to DNxHR HQX mxfs.
I choose this DNxHR codec flavor when transcoding, I wanted to keep the fps of the sources intact.
In Avid edit to create a sequence.

The Basic Sequence Timeline Edited as appeared in Avid Media Composer v8.4.1

event 01 fps 29.97) Source In 01:00:11:01 at Record In 01:00:00:00
event 02 fps 29.97) Source In 01:00:22:28 at Record In 01:00:02:02
event 03 fps 23.98) Source In 01:00:10:23 at Record In 01:00:02:22
event 04 fps 23.98) Source In 01:00:04:17 at Record In 01:00:03:20




In Avid --> from the Avid sequence exported the AAF
In Resolve imported the Avid AAF creating the Resolve Timeline:

event 01 fps 29.97) Source In 01:00:11:01 at Record In 01:00:00:00
event 02 fps 29.97) Source In 01:00:22:28 at Record In 01:00:02:02
event 03 fps 23.98) Source In 01:00:10:23 at Record In 01:00:02:22
event 04 fps 23.98) Source In 01:00:04:17 at Record In 01:00:03:20






In Avid --> from the Avid sequence using List Tool created an EDL
In Resolve imported the Avid EDL creating the Resolve Timeline:

event 01 fps 29.97) Source In 01:00:11:01 at Record In 01:00:00:00
event 02 fps 29.97) Source In 01:00:23:05 at Record In 01:00:02:02
event 03 fps 23.98) Source In 01:00:10:23 at Record In 01:00:02:22
event 03 fps 23.98) Source In 01:00:04:17 at Record In 01:00:03:20



Above is an example of an AAF and an EDL for the same sequence and how it is looking in Resolve as a Timelime.

Instead of Step 12 in the tutorial, here is Step 12v2 for a MXF media file reconform from Avid to Resolve.

In the Resolve use the following reel name extraction configuration for the Avid MXF media files: "Master Project Settings" > "Conform Option" > "Assist using reel names from the:" > "Embedding in source clip file"

Because this is a reconform using avid mxf transcodes as an example.
Step 12v2 to Step 15 in the tutorial --> In Resolve v12.0.1 renders out color baked-in MXF OP-Atom files by choosing in the Deliver Page under "Format" select "Individual source clips".
For this example because I am using mixed frame rate sources I would add at least 10 frame handles to the Resolve renders. Render getting the resolve created MXF OP-Atom files to an Avid numbered folder where the Avid will create a media database for them.


Step 16 thru step 23 --> I import the Avid Media Database into a Bin and this creates master clips that link to the Resolve color-baked in MXF OP-Atom files. I then clear the bin memory (step 25) and then
Step 26 to Step 27 in the tutorial --> I relink.
@Scott Freeman
by Anastasia Cipolla
I'll review from step 25, that's where I missed to clean bin memory.

Thank you for your support.
Re: 3 Columns for Flawless Conform. Every File. Every Time.
by Richard Quinn
Very Useful info. Unfortunately some cameras and codecs do not necessarily work. I am using a Panasonic HVX200 and HPX255. One camera is DVCPro_HD codec and the other also has AVC-Intra 100mps. The trouble is that they open up in Avid Bins not as individual clips but as one clip name which includes many clips with individual names on the hard drive linked together. So it does not really import into Resolve unless there are just short clips.

I do not know the best way to deal with P2 media so that a smooth import into Resolve occurs. Any advise would be greatly appreciated.I would rather shoot with a camera that makes the roundtrip to resolve as explained in the post work and use codecs that work with resolve than do this another way and it does not matter iof I have to buy another camera . I just dig this workflow and when it works it is fantastic
@Richard Quinn
by Scott Freeman
Richard,

Thank you so much for checking out this tutorial!!!

And yes, codec wrapper combos, file tree structures and matching metadata support is a very interesting reconform round-trip obstacle that I attempt to figure out and solve. My workflow can be used to calibrate the boxes together finding current support for various cameras.


If you would like to provide me with some sample footage, I can look at it and report back. As far as recommending a camera, my goal is to always say "yes" to the client's needs and try to figure out a solution!!!
Re: 3 Columns for Flawless Conform. Every File. Every Time.
by Nikhil Nath
Man you're a genius. Awesome tip. Its working flawless.

Nikhil
Post Production Editor
@3 Columns for Flawless Conform. Every File. Every Time.
by Ronen Pestes
How do you get the 'LINK' Column? It is not an option in the original bin selection of Avid
@Ronen Peste
by Scott Freeman
I hope after speaking with you this makes sense.
Re: 3 Columns for Flawless Conform. Every File. Every Time.
by Drew Lahat
Hi Scott,

Interesting solution. I like how you efficiently render straight to an MXF/100 folder (ballsy ;) and it seems that you avoid having to export a new AAF out of Resolve, which of course ensures the timeline never gets modified and all the effects, nesting etc. stay perfectly intact.

What happens in the common case where, for example, InterviewOneTake.mov is used in 2 short instances? Resolve would render those shots as InterviewOneTake_V1-0001 and InterviewOneTake_V1-0002, and I don't see how the 3 metadata fields would help Avid know how to relink. Does the reel name carry over from Resolve so both render files have reel name = "InterviewOneTake"?

What happens if you have two source files with the same name (that came from different folders, or camera cards? All too common with DSLRs..

I also found it odd that you demonstrated it on one lone single clip. If all we wanted was to move a single clip around we wouldn't be worrying about conform workflows. I'd love to see how this works for a busy sequence or a feature film...
Will definitely try it myself next time I'm tackling an Avid+Resolve production.
@Drew Lahat
by Scott Freeman
Your Question: "What happens in the common case where, for example, InterviewOneTake.mov is used in 2 short instances? Resolve would render those shots as InterviewOneTake_V1-0001 and InterviewOneTake_V1-0002, and I don't see how the 3 metadata fields would help Avid know how to relink. Does the reel name carry over from Resolve so both render files have reel name = "InterviewOneTake"?"

Answer: This workflow supports exactly what you want to do. In Resolve this workflow set-up is using the Avid Media Tool Kit. Resolve is embedding the"Reel Name" into the rendered mxf media files.
The "Reel Name" and the "LINK" column are a metadata match. Yes, the "Reel Name" in DaVinci Resolve carries over to Avid Media Composer. The Avid for video files using MXF media files can currently read the embedded "Reel Name" and it appears as "Tape" name metadata in the Avid bin.

In DaVinci Resolve make sure in "Render Settings" to put a check mark next to "Render unique filenames". This way Resolve won't render over files that are from the same "Reel Name".

This workflow for teaching purposes, I slimmed it down to show one file at work.
This workflow supports thousands of files using the Avid Relink Command and supports mixed-frame -rate relinking all in one selection.

This roundtrip workflow also works if you transcode from AMA in the Avid Bin or AMA-Direct-Link-to-Media roundtrip. It is up to you!!! Use Avid MXF media files or original master file sources. You get to decide.





Your Question: "What happens if you have two source files with the same name that came from different folders, or camera cards? All too common with DSLRs.."

Answer: This can come up. For duplicate file names that are not the same file, the ideal situation would be a little bit of work in the Resolve and Avid Media Composer. I use the Resolve clip attributes to modify the "Reel Name" to match the "LINK" column in the Avid to avoid duplicate name issues. This workflow is about metadata matching, the "LINK" column is non-destructive. For duplicated names, I append a unique folder name to the end of the name as the "Reel Name" in Resolve and "LINK" name in Media Composer. If the folder structure permits it, creating a new folder and giving that new folder a unique name and then placing the entire complete folder tree structure intact in that new folder that was created with this new unique name. This metadata management then makes having duplicate file names back-trackable to the assets in the folder structure. Duplicate file names, which can happen, for some camera folder structures the name of the file cannot be changed.
In theory, if the file-structure of the camera supports placing them in a new folder that becomes the new root directly with a specific unique name (Like camera letter and date), then there is some metadata sorting available as appears in the Avid Bin and the Resolve Media Pool too. That new folder name, I just append to the end of the duplicated file name to make unique in both Avid and Resolve and that name I use for "Reel Name" and "LINK" name.
+1
Re: Tutorial: 3 Steps to Perfect, Painless Avid-Resolve Roundtripping
by Bill Ravens
A couple of comments/questions:
-In version 8.4, the "LINK" selection no longer exists. What to select?
-How do I select a single FileName when there is more than one master file in the bin?

@Bill Ravens
by Scott Freeman
Step 01 update: For Media Composer Version 8.4

Go to the "File Menu" and choose "Link to Media..." command. Select a source file on the storage device. A master clip is created in the Avid Bin.









Step 02 B: To only manage the metadata for one master clip at a time in the Avid Bin:
1) In the Avid Bin, click under the column heading titled "Name" for the master clip. The master clip name becomes selected.



2) Go to the "Edit Menu" and choose the "Copy" command.


3) In the Avid Bin, click under the column heading titled "LINK" for the master clip.


4) Go to the "Edit Menu" and choose the "Paste" command.


Please save the bin.


The master clip name metadata populates the "LINK" column.


The copy paste command can be used to copy start timecode metadata, then paste into the auxiliary tc2 column.
Re: @Bill Ravens
by Bill Ravens
Thanx, Scot. Good stuff.
edit: tried this technique, only to discover that "LINK" is no longer a part of the column choices in v8.4
Re: @Bill Ravens
by John Pale
Just create a custom LINK column yourself. It will still appear as an option in the Relink dialog.

Scott, was this formerly in the default column set or was it always a custom column? Don't think I have ever seen it before.
Re: @Bill Ravens
by Bill Ravens
Thanx John. I created it, wasn't sure it would work.
To answer your question, if I may, "LINK" was in the previous version 8.3.1 as a preset.

@John Pale
by Scott Freeman
John,

Thank you for the question about the custom column.

Media Composer version 6.5 added support for a user created custom column in the relink command window with a sequence and selected master clips.
@Scott Freeman
by Rohan Cornwall
Wow. Finally a tutorial that works for me!! Thank you Scott, this was amazing I am now very confident in my abilities to round-trip between media composer and Davinci. There were no problems except that I had to create my own "Link" column within Media composer. Other than that this was a piece of cake. Im very happy. thank
Re: 3 Steps to Perfect, Painless Avid-Resolve Roundtripping
by Brian Seegmiller
So 3 steps become 27. Not exactly painless.
+1
@Brian Seegmiller
by Tim Wilson
My bad! As the editor responsible for the headline, and NOT an editor responsible for anything related to Media Composer or Resolve, I confess I misunderstood and overstated Scott's point. He was quick to set me on the proper path.

You're right of course, not 3 steps. However it IS only three metadata fields in the bin, ie 3 columns. I've revised the title, graphic, and article summary.

I especially apologize to Scott and his many, regular readers here at the COW for any disservice I've provided by distracted from what feels to me a genuine revelation: thousands of clips managed by three columns, in one swoop. Pretty cool.

I also love the artwork at the end. :-)


Regards,

Tim Wilson
Editor-in-Chief*
Creative COW

*not AVID editor anything, chief or otherwise
Re: 3 Steps to Perfect, Painless Avid-Resolve Roundtripping
by Greg White
Nice one Scotty we gotta link up for coffee and tech talk sometime


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