Can you elaborate a bit on the UUID linking? In my very basic transcoding use of Resolve I found that assist using reel numbers based on the file name was the easiest way to pre bake in standard LUTs to then use in Avid for online.
I know there is a setting in Resolve to use camera originals. I was told by a more experienced Resolve user that given he had already imported the camera originals into the Resolve Media Pool with the "use camera originals" setting checked I could export an AAF from avid linked to existing media and Resolve would know to use the camera originals. I believe the Resolve could still see the actual Avid media but it had never been imported into the Resolve project. It all worked but I never got to analyze the system closely.
Is Resolve's ability to link based on UUID adversely effected if the media used in Avid was created using Resolve and Assist using reel names was used in the media preparation? When I have done this my Avid media ends up with the conventional tape name and it has all worked but I was never trying to go back to camera originals. Given the camera originals don't necessarily have the same tape name, if any, is this UUID always coming along in the background metadata?
---In Avid-L2@yahoogroups.com, <bouke@...> wrote :
On 10 Mar 2017, at 11:17, ph@... [Avid-L2] <Avid-L2@yahoogroups.com> wrote:I'm working on a low budget fiction film. The film was shot 2:39:1 using Arri Pro Res4444 XQ (at 3.2k Arri Log C) and occasional insert / fx shots using UHD 4K Pro Res HQ (on a GH4 V-Log). Everything was down-converted to 1080@24p DNxHD36 for editing, using Resolve. Editing was (is) done on Media Composer 8.5.3.
Editing is soon to be over, but the VFX guy who was going to also take care of conforming back to the original footage had to cancel. The new guy we got is less familiar with the conform side of things (but he's better at VFX, just can't have it all!), so I'm taking over that job. Originally, the VFX guy was going to use Premiere to conform. In his view, it made more sense since there'll be quite a bit of back and forth with After Effects. Also, Premiere takes a lot of format and keeps them in their original format. And from what he said, it's happy with taking AAF, XMF and lots more.
I haven't done a conform in a while, and never with those formats, so I would love some feedback as yesterday's methods might have been replaced with better ones. The lab doing the color-grading wants us to provide them with DPX files. The film will be graded for 2K, with the possibility of going to 4K later, once sold. As said above, it was shot at 3.2K.
Would it make sense to use Avid? I've read a lot of stuff here with gamma issues and weird exports problems, so I don't want to run into trouble for sticking to a software I know - though I don't know how you conform at 3.2K? Or should we go indeed for Premiere? I'm not super familiar with it, only used it a few times, but I'm relatively technical when necessary. I guess the other option would be to use Resolve, but would it help or not? I know Resolve even less than Premiere...
Thanks for some feedback/shared experience about the quirks and icebergs awaiting for us.
Pierre
Posted by: bigfish@pacbell.net
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