Avid Video Mixdowns as DaVinci Resolve Sources


https://library.creativecow.net/freeman_scott/Avid-Video-Mixdowns_DaVinci-Resolve/1

CreativeCOW presents Avid Video Mixdowns as DaVinci Resolve Sources -- AVID Editorial


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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.

notes:

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.

Reklámok