What used to take me 40 hours of Avid Metadata Media Management sourcing tape-less "Source File" metadata for an Avid Online, now using Avid and Resolve takes seconds. Batch modify Avid "Source File" metadata to "Tape Name" metadata linking in seconds. I invented the best workflow of my life using Resolve Version 9-10 and Avid Symphony Version 6.5-7.0.3. Keep all original Avid Online Sequence video tracks, edits, effects (except more than one master clip in a collapsed effect for now), drop/non-drop timecode metadata, title metadata, and batch modify to "Tape Name" metadata all with 1 Avid "Relinking Selected" command step.
Avid metadata linking to essence:
All Avid mxf media files have embedded "Tape Name" metadata. If in the Avid Bin there is also "Source File" metadata for the master clip, the Avid will not display the "Tape Name" metadata in the bin. For Resolve the metadata populated in the "Reel Name" column gets embedded as "Tape Name" metadata in the delivered mxf files. Embedded "Tape Name" metadata by default is an exact metadata match to the "Source" metadata for every Avid master clip. From an exported Avid AAF, Resolve delivers individual color baked-in mxf files(with handles). Importing the Avid media database creates links in the Avid bin that will display "Tape Name" for all of the Resolve created mxf media files. Using the Avid "Relink Selected" command and a custom column, establishes a (re)link selected relationship to the Avid Symphony Online Sequence and the DaVinci Resolve color baked-in mxf media files.
I use Avid AAF to Resolve and then use Resolve to render out individual mxf media files with handles. I render out both drop frame and non-drop frame timecode metadata at the same time. I import the Avid media database into the bin (Importing the Avid Media Database into a bin creates links to Resolve created .mxf media files) and relink to the original Avid sequence using the Avid Relink Selected command (Since Avid version 6.5 I can use the relink selected command with a user created custom column/heading). The original Avid Sequence is left intact and linking to the Resolve created color baked in .mxf files.
Here is an example workflow invention of how I have been doing Resolve/Avid mxf with handles roundtrip where Avid created/digitized the .mxf online media files. The user wants to color correct in Resolve and do the online in an Avid Symphony relinking the Avid Online Seqeunce to the new color baked-in .mxf files delivered from Resolve Version 9-10:
In Avid Symphony Version 6.5-7.0.3
Step 1) Make a bin, title it “Sent_To_Resolve” and duplicate your Avid online sequence into that bin.
Step 2) Export the sequence as an AAF, activate “AAF Edit Protocol”, “Include All Video/Data Tracks in Sequence”, “Include All Audio Tracks in Sequence” (In Avid if you have more than one effect on a segment in the sequence, the user must activate "Include All Audio Tracks in Sequence") and for Export Method select “Link to (Don’t Export) Media”.
In DaVinci Resolve Version 9-10
Step 3) Click gear icon, click “Master Project Settings”, under “Conform Options” “Use Timecode:” Activate “Embedded in the source clip”, put a check mark activating “Assist using reel names from the:” and activate “Embedding in source clip file”. In Resolve 9, for non-drop/drop frame timecode support, activate “Handle Mixed framerate material”. Resolve 10 has default non-drop/drop frame timecode support for exports.
Step 4) Import AAF - the default selections are great except in Resolve 9, for non-drop/drop frame timecode support activate “Handle mixed framerate material”. Resolve 10 has default non-drop/drop frame timecode support.
Step 5) Color all the cuts in the episode/movie.
Step 6) For Resolve 9, I would render out the Master Timeline, this way you will have an exact metadata match including all handles. Deliver using “Render to:” “MXF”. Depending on interlaced or progressive source needs, select the proper MXF DNxHD 1080 (i) or (p) codec. “Render timeline as”, activate “Individual source clips”. For File Name, activate “Use source filename”. For Output options, activate “Render each clip with a unique filename”.
In Avid Symphony Version 6.5-7.0.3
Step 7) Make 3 new bins and title them “Resolve_Essence”, “Tape”, and “Source_File”. For some camera types or situation I might need to make an additional 4th bin and title it "Name".
Step 8) In the “Sent_To_Resolve” bin make a custom bin display with the following headings/columns “CFPS” “Offline” “Tracks” “Start” “End” “Duration” “Project” “ “Source File” “Tape” “Format” “Video” and make a custom column by clicking in a blank column area and title it “link”. Save the bin display and title it “link”. By default the Avid bin seems to have the icon and the "Name" heading/column visible.
Step 9) In the “Sent_To_Resolve” bin, go to bin menu and choose “Set Bin Display” activate only “Master Clips”, “Show clips created by user”, and “Show reference clips”.
Step 10) Clips using “Tape” metadata, move those into the “Tape” bin.
******* I have seen for C300 or PDW-F800 clips the metadata match is "Name" metadata, move those into the "Name" bin.
Step 11) Clips using “Source File” metadata, move those into the “Source File” bin
Step 12) In the “Tape” bin, bring up the custom bin display titled “link” and click on the “Tape” heading. The entire column is selected. Use the duplicate command. The Avid "Select" window is revealed. Choose the column “link” and click on the OK button.
******* For C300 or PDW-F800 I have seen situations where I use the “Name” metadata. So for these I open up the "Name" bin and bring up the custom bin display titled “link”. Click on the “Name” heading. The entire column is selected. Use the Avid duplicate command. The Avid "Select" window is revealed. Choose the column “link” and click on the OK button to close the "Select" window.
Step 13) In the “Source File” bin, bring up the custom bin display titled “link” and click on the “Source File” heading. The entire column is selected. Use the duplicate command. The Avid "Select" window is revealed. Choose the column “link” and click on the OK button.
Step 14) In the “Sent_To_Resolve” bin, go to “Set Bin Display” and select only “Sequences” and “Show clips created by user”.
Step 15) In the “Resolve_Essence” bin bring up the custom bin display titled “link” and then go to the file menu and choose “Import”. Import the “msmMMOB.mdb” located in the directory of your Resolve rendered .mxf files.
****** The Resolve .mxf file renders need to live in an Avid activated folder. For local storage that folder would be a numbered folder that lives inside the MXF folder, and that MXF folder lives inside a folder that lives on the root directory of your media drive titled “Avid MediaFiles”.
Step 16) In the “Resolve_Essence” bin click on the “Tape” heading, use the duplicate command and choose the column “link”.
Step 17) Duplicate your sequence from “Sent_To_Resolve” bin and move it to the “Resolve_Essence” bin.
Step 18) In the “Resolve_Essence” bin select all and go to the clip menu and choose “Relink” – The “Relink” window appears - In the “Relink” window, Activate “Selected items in ALL open items”, “Allow relinking to offline items” and Under “Relink by: Original” choose “Timecode” “Start” and choose “Source Name” and choose the custom column “link”, activate “Ignore extension”, put a “.” in “Ignore characters after last occurrence:” click enter.
This is amazing. In theory this supports multiframe rate mxf files and Resolve can export both drop frame and non-drop timecode at the same time. What Resolve Version 9-10 does not seem to be able to do at the same time (so far as I can tell) is export both progressive and interlaced codecs. That must be done by sorting and done in 2 render passes in Resolve.
Issues with Resolve/Avid .mxf round trip relinking and playback that I have noticed:
*An Avid collapsed effect - the video on the lowest number track will be pulled only.
*Some Avid Fast Import created .mxf files are not supported in Resolve.
*I recommend to stay away from using video mixdowns.
*Alpha Channel .mxf files
*C300 spanned files - for these I handle them by first prepping in the Avid by exporting a quicktime reference file naming the file the same name as the master clip's source found in "Bin Menu>Set Bin Display>Souces". I AMA these and transcode the quicktime reference file so I end up with a pretty exact file that will now link and playback in Resolve.
*Resolve version 9 - if a single frame was imported using file import in the Avid. The first frame of the Avid .mxf file is video and the rest is blank. In the Avid and Resolve version 10 seem to be filling in the blank and playing back these .mxf files as a still frame. Resolve version 9, only the first frame will have video when played back.
*Resolve version 9 timeline can have a clip that will not link to the "Media Pool" if in the Avid that master clip's "Source" name metadata found in the "Bin Menu>Set Bin Display...>Sources" is missing a suffix in the name and the media was offline at the time the Avid created the AAF file.
*In Resolve version 9 - If the user changes the name of an Avid created .mxf file on the media drive, Resolve 9 will not be able to find or see the .mxf file in the library. Resolve 10 can see and use renamed .mxf files.
In the Avid, if an Advanced Authoring Format File (Also known as an AAF Export) is imported that was created by DaVinci Resolve Version 10 and the original Online Avid Sequence Bin that contains the Avid sequence is open at the same time, an error can occur in the Avid Symphony causing for example, the video to play back with green and static hits and other splendors. Is this an Avid media object conflict?
Quit the Avid and delete the corrupted media databases for the mxf files in question (Since ver 7 of Avid Symphony I have had to delete the AMA media databases if there was one of these master clips imported with the AAF). Avid creates new media databases next time it is launched.
I made this workflow to avoid Avid media object conflicts (MOB conflicts) from Resolve Version 10 AAFs.
step 1) Close all bins
step 2) Quit the Avid
step 3) Launch the Avid
step 4) Make a new bin
step 5) Select the new Avid bin and import the DaVinci Resolve version 10 AAF
I made this workflow to avoid Avid media object conflicts (MOB conflicts) from Resolve Version 9 AAFs.
step 1) Load the original Avid sequence into the Avid Record Monitor
step 2) Import the Resolve version 9 AAF into an Avid Bin
Importing a Resolve version 10 Generated AAF into an Avid Bin:
– Non-drop timecode metadata support.
– All drop frame timecode metadata master clips will by modified to non-drop frame timecode metadata upon import.
- non-standard metadata batch renaming of "Source" metadata for every master clip. The Avid user can end up with source metadata that has been renamed only an exact metadata match to the name of the AAF that was the import plus a number appended to the name.
Importing a Resolve version 9 Generated AAF into an Avid Bin:
– Non-drop timecode metadata support.
– All drop frame timecode metadata master clips will by modified to non-drop frame timecode metadata upon import.
- Unwanted Batch Renaming of "Source" metadata for every master clip. The Avid user can end up with metadata that has been renamed only an exact metadata match to the name of the AAF that was the import plus a number appended to the name.
– the source (found in set bin display) if it is not populated with start timecode metadata of 00:00:00:00, those master clips will have their start timecode metadata modified to 00:00:00:00 instantly.
– all master clips might become batch modified to "Tape Name" metadata linking instantly.
Metadata should always stay intact, at anytime go back to the master files and review/(re)link new versions instantly to the same Avid Online Sequence. Avid only embeds metadata into a mxf media file when Avid creates the mxf file. All edits/changes to metadata after the Avid mxf media files were created are saved as side-car metadata. The metadata changes are not embedded into the mxf file unless you have the Avid create new mxf files. The side-car matadata changes/edits are saved in the Avid Bin and the Avid Media Databases to name a few places.
Resolve v9-10 AAF to Avid Sequence may not be able to use the Decompose command. Some master clips used in the AAF imported sequence have locked side-car metadata.
I have seen an Avid situation where I needed to reestablish a linking relationship to the master clips that Avid has in the sequence before an Avid “Relink Selected” will work. To wake up the master clips links that live in the Avid sequence I have created this workflow solution:
1) Duplicate the original Avid Online Sequence into the “Sent_To_Resolve” bin. - this would be the Avid sequence used to export the AAF.
2) Select the Avid Bin and go to the "Bin" menu and choose "Set Bin Display…"
- The Avid “Set Bin Display” window appears
3) Put a check mark next to “Master Clips”, “Sequences”, “Show clips created by user”, and “Show reference clips”.
4) Close the "Set Bin Display" window by clicking OK.
5) Select everything in the bin – Now you have all master clips and the sequence selected in the bin to clean-up links.
6) From the "Clip" menu choose "Relink".
- The “Relink” window appears
7) Under "Relink selected items to:" Activate "Selected items in ALL open bins" and put a check mark next to "Allow relinking to offline items"
8) Under "Relink by:
Original
"Timecode" - select "Start"
"Source Name" - select "Tape Name or Source File ID"
and deselect "Match case when comparing source names".
Another thing that has come up is that the Avid would crash when exporitng an AAF. What solved this problem for me was to quit the Avid and delete the Avid Settings: MCState, Site Settings, and Site_Attributes. After deletion of those settings the Avid was able to export the sequence as an AAF.
an extra note - If the Resolve User creates mxf files that are missing "Reel Names" when delivering mxf files a blank is in the embedded "Tape Name" metadata. The resulting mxf files if using an Avid Media Database as the import method in the Avid bin the "Tape Name" metadata can be the name of the media database plus a numbered appended at the end of the name. If the Avid user used the "MediaTool" to create the links a "Blank" "Tape Name" is revealed. If the Avid user imports an AAF from Resolve to establish links the "Tape Name" metadata can be the name of the Resolve AAF that established the links in the bin.
scott freeman
↧
Roundtrip? AAF Blackmagic Design DaVinci Resolve/Avid Symphony
↧