Re: [Avid-L2] C300/DNxHD workflow Q

I just started a similar thread on this same issue about three or four weeks ago. You might want to check that.

I used Bouke's MXF Creator to do the conversions and also tried Brorsoft Video converter. They're both pretty cheap.

Steve

On Sep 1, 2013, at 12:13 PM, kenavid2@glueedit.com wrote:

> Posting this for a friend who has shot in true 24p. Any help would be appreciated: The production shot on the Canon C300 at 24p. We only learned a few days ago that Avid refused to import the footage via the Canon plugins because the plugins don't support true 24. So we went into Da Vince to transcode. The camera footage also has an audio scratch track that shares a timecode with the separate sound being recorded so that syncing would be easy. I transcoded everything successfully to DNxHD36 and brought it into Avid. We also did a test where we cut a few clips together, exported an AAF to take the timeline back into Resolve and it linked back to the master clips without any problems. We'll need to do this later to retranscode to DNxHD175x which is what the colorist plans to work with. However, I've run into an issue where the original timecodes of the footage don't seem exist in the transcoded version. So if I try to sync sound using the timecodes, it doesn't work. This is a problem because we're short on time and were planning to get an assembly cut done before the next leg of shoot. If we had to manually sync everything, that would take forever and throw off our schedule. We were hoping that if the timecodes worked, then the sound designer could later sync up only the sound used in the final edit timeline. In short, my question is, do you know if there are settings in Resolve that preserve the original timecodes and keep the scratch audio when transcoding to DNxHD36 to edit in Avid?
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