This IS the Avid L2: Re: [Avid-L2] In Resolve, Conforming to camera original using AAF -

Friday, February 20, 2015

Re: [Avid-L2] In Resolve, Conforming to camera original using AAF -

Thanks to John Moore for helping me suss this out.

The problem is with the way my dailies were made, not the AAF into resolve - the assistant editor left on the 'prefix' function when rendering the dailies -so the file/reel number doesn't match the camera original. By NOT getting reel names from the file name, at least resolve came CLOSE to a conform, and I'm able to use the reel conflict function to correct the miss-matched reel numbers.

gh
----------------------------------------------------
Greg Huson
Chief
Secret Headquarters, Inc
Production / Post Production
Culver City, CA
323 677 2092
www.SecretHQ.com
www.DigitalServiceStation.com

> On Feb 20, 2015, at 4:37 PM, Greg Huson Greg@SecretHQ.com [Avid-L2] <Avid-L2@yahoogroups.com> wrote:
>
> I'm having difficulty conforming back to camera original when using an AAF in resolve - when I've used this method before, only a few shots were wrong, so I've never debugged it. (More often I'm passing DNx over to resolve, grading, and returning, which works great, but in this case I'm using offline data to match to camera original.)
>
> I'm hoping someone who does this regularly will see the error in my workflow-
>
> - camera original loaded into Resolve,
> - 'one-light' dailies made at DNX36
> - offline cut in Media Composer
> - load camera original into resolve media pool
> - AAF imported into resolve, but rather than 'automatically import,' box for 'link to source camera files' is selected.
>
> The problem is that resolve seems to ignore the actual camera file name - even though the file name appears correctly in media composer. Resolve simply cuts in the first reel that contains that exact time code. With a long sequence and multiple days of source material, this means only about 3 ou\t of 4 shots is conformed correctly. I then have to go shot-by-shot and pick the correct shot. This has never bothered me in short-form, but the more we shoot original material, the more we're using this workflow.
>
> What 'switch' am I missing that allows either resolve to correctly identify the source file, or allows media composer to pass it through the AAF. The file names are unique - each camera has it's own ID, but obviously there are overlapping timecodes. (My initial assumption was that I forgot to 'commit multicam,' but that's not the case.)
>
> Thanks in advance, hopefully I'll be really embarrassed when the correction is pointed out...
>
> gh
> ----------------------------------------------------
> Greg Huson
> Chief
> Secret Headquarters, Inc
> Production / Post Production
> Culver City, CA
> 323 677 2092
> www.SecretHQ.com
> www.DigitalServiceStation.com
>
>
>