As far back as I remember, Resolve has always had this problem with creating DNX OP Atom rushes. The source file name/path metadata is missing from the exports. The reason you have a tape name in Avid is probably because you have the 'Assist using Reel Names From' option set in settings (General Options/Conform Options).
You can certainly turn this off and the corresponding 'Reel' column will disappear, but this won't make the source file name/path come back on export, and without some source identification, relinking will be difficult.
I've even tried exporting an ALE from Resolve, and although this did bring back certain other metadata (like slate/take info) the source file info was still missing.
Not tried this in V17 of Resolve, but I've not seen any evidence (from the release notes) that this has been addressed.
Bruno
The one thing that always bothered me about using Resolve for making the DNx media is that it always generates some form of Tape Name that then precludes ever relinking to ama'd master clips because the Tape Name causes Avid to lose the flie path/ama meta data path. Has that behavior changed in the last couple of years? I have had success transcoding in Avid and then moving into Resolve but most of my tests were nothing more than a test to see if it worked and linked. There could be under the hood gotchas I didn't discover in my tests.
On Tue, Jun 22, 2021 at 10:53 AM, Jay Mahavier wrote:
I generally use Resolve to make the Avid media. Since we regularly do our DI finish in Resolve it makes for a easy(er) conform if it's all set up right. And that way you can run whichever version of MC you prefer.Jay
On Jun 22, 2021, at 11:32 AM, Mark Spano <cutandcover@gmail.com> wrote:
Keep in mind the newer the camera OS, the newer the MC version you need to be able to link them. I just ran into this myself, having had a machine set up with MC v.8.8.4 not being able to link Alexa Mini cards (ProRes 4444 XQ). I believe somewhere in 2018 they added compatibility there, as my other install of 2018.12.x saw the cards just fine.
On Mon, Jun 21, 2021 at 7:32 PM David Dodson <davaldod@gmail.com> wrote:Oh, god, absolutely. Yes. Transcode to the DNxHD of your choice. Makes life so much easier.
On Jun 21, 2021, at 4:30 PM, Jay Mahavier via groups.io <jay_mahavier=icloud.com@groups.io> wrote:
But regardless of format you record too, if you are shooting 4k I would suggest processing to DNx, editing, and then going back to the camera masters for VFX and DI.Jay
On Jun 21, 2021, at 6:28 PM, David Dodson <davaldod@gmail.com> wrote:
Mini records in a bunch of flavors of ProRes, as well. Depending on the nature of the show, there is an argument to be made that there is little to gain by shooting ArriRAW and to go ahead and do ProRes 4444. I've personally cut several features shot with the Mini using both ArriRAW and ProRes4444 — after proper grading I defy you to tell the difference.DD
The Alexa Mini may be able to record in other formats. But we recorded to 4k ArriRAW in MXF.Jay
The mini records ArriRAW to MXF.We processed the 4k camera masters through Resolve to DNxHD36 for editing.DI in Resolve in 4k.Very traditional.Jay
On Jun 21, 2021, at 5:28 PM, C. Hess <cfh3media@gmail.com> wrote:
May have an opportunity to work on a projectshot on an Arri Mini.Any body here have experience with those files?Don't yet know the actual format. ProResor RAW, I think.What machine specs would you expect,working with 4K? May be time to upgrade.I anticipate using proxies, I guess I am thinkingmore about the final renders.Thx!
Chip Hess
CFH3 Media
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