Latest post Sat, Feb 1 2020 1:29 PM by Jason Sedmak. 12 replies.
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  • Mon, Jan 20 2020 2:16 PM

    • Ron V
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    Sony A7S Mark 2 XAVC-S timecode: workfow with DaVinci Resolve

    Hi:

    I've just finished an edit in MC using footage from Sony A7S-ii cameras. I imported all the camera files at a low resolution, finished the edit, and re-linked to the original camera files. All good. Now sending an AAF to a colorist who will conform the sequence in DaVinci Resolve.

    The colorist has all the same original camera footage as me, but our timecoding is different!

    Wish I had known this before, but Sony inserts its own LTC in every clip, so while all of my imported clips start at 00:00:00:00, the original camera files have different start timecodes: AVID didn''t read Sony's LTC when ingesting. It's a documented issue: https://forums.creativecow.net/docs/forums/post.php?forumid=45&postid=906484&univpostid=906484&pview=t

    I'm not familiar with DaVinci, so here is my question. All of the original footage also had VITC (time-of-day timecode), which MC was able to read and embed in all clips.  Can DaVinci handle edit lists (AAFs or XMLs) that refer to VITC? 

    Thanks!

     

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  • Mon, Jan 20 2020 5:13 PM In reply to

    Re: Sony A7S Mark 2 XAVC-S timecode: workfow with DaVinci Resolve

    If you can see the VITC timecode in MC can't you duplicate that to the start timecode for each master clip.

    And then re output the AAF.

    The reccommended ingest is to AMA link.

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  • Mon, Jan 20 2020 8:09 PM In reply to

    • Ron V
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    Re: Sony A7S Mark 2 XAVC-S timecode: workfow with DaVinci Resolve

    Pat:

    Nice - I didn't know you could overwrite the TC on a master clip and change the resulting AAF. (Maybe i will first duplicate the original set of TCs to a new user-defined column as backup in case I need to revert.)

    But the bigger question is whether DaVinci Resolve (a program I don't know) can conform a sequence by linking the timecodes in my AAF to the VITC timecode in the original camera files. Is "Use VITC timecode" a setting in DaVinci?

     

     

     

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  • Fri, Jan 24 2020 12:46 AM In reply to

    • hbrock
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    Re: Sony A7S Mark 2 XAVC-S timecode: workfow with DaVinci Resolve

    Resolve is able to read TC in Sony XAVC-S files.  Avid's ability to read that TC has only appeared recently.

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  • Fri, Jan 24 2020 1:27 AM In reply to

    • Ron V
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    Re: Sony A7S Mark 2 XAVC-S timecode: workfow with DaVinci Resolve

    Thanks, Howard!

    hbrock:

    Avid's ability to read that TC has only appeared recently.

     

    I just downloaded nablet's XAVC S Plug-in. Perhaps this will do the job.  Can you tell me how to apply it to my footage?

     

    Attached is what happens when I right-click an item in the Plug-Ins column, I don't have the option to apply the new plug-in.

    Also attached is a shot of the Info tab in my Project window: notice that the XAVC S plug-in is there.

    Any idea what I should be doing differently?

     

    (Note: I'm not sure whether the 2 images are attaching properly, but you get the idea.)

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  • Fri, Jan 24 2020 2:58 AM In reply to

    Re: Sony A7S Mark 2 XAVC-S timecode: workfow with DaVinci Resolve

    Ron V:

    The colorist has all the same original camera footage as me, but our timecoding is different!

    Wish I had known this before

    In future I recommend getting and installing Resolve Free. Then look at a workflow like this.  
    Open a new Resolve Project and import each media card, this is as fast if not faster than MC's linking, to a Resolve bin.
    Sort the bins clips by start time.
    Select all clips in a Bin and ask Resolve to make a timeline of selected clips.
    Open Resolves Deliver page and use Avid deliver template to send all clips as proxy resolution to a number folder in your Avid's storage folder.  Again Resolve is faster than MC for creating proxies).
    Open MC and drag the AAF from your Avid storage folder into an Avid bin. The bin will then populate with all the proxy clips plus the timeline with the clips from that card strung out.  

    Edit your program then export an AAF without media back to your Resolve project. 
    Open Resolve and the original capture Project. 
    Resolve will automatically connect with your source original media.   
    Send your Colorist a copy of the Resolve project without media. 

    Assuming your Colorist has the same folder structure for the original media then your project will open with all media correctly placed.  The Colorist then resets your Resolve project settings to the their desired output settings and is ready to work.  

    For what its worth here using relatively low mid range computers for Resolve every step in the process regularly runs at least 25% faster than the equivalent process in MC.  So far (3 years now) this workflows has been faultless for me.

    Alayne.

  • Sat, Jan 25 2020 2:43 PM In reply to

    • Ron V
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    Re: Sony A7S Mark 2 XAVC-S timecode: workfow with DaVinci Resolve

    Alayne:

     

    This sounds like a very sensible workflow. I haven't used DaVinci yet but it sounds like it's time.

     

    There was one step in your description that I wanted to clarify:

    Alayne Holmes:

    Open MC and drag the AAF from your Avid storage folder into an Avid bin.

    Which AAF is that? Does Resolve create it during the Avid deliver process?

     

    Thank you for all this. I will know for next time!

     

     

     

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  • Sat, Jan 25 2020 5:37 PM In reply to

    • jef
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    Re: Sony A7S Mark 2 XAVC-S timecode: workfow with DaVinci Resolve

    Ron V:

    Alayne:

     

    This sounds like a very sensible workflow. I haven't used DaVinci yet but it sounds like it's time.

     

    There was one step in your description that I wanted to clarify:

    Alayne Holmes:

    Open MC and drag the AAF from your Avid storage folder into an Avid bin.

    Which AAF is that? Does Resolve create it during the Avid deliver process?

    Thank you for all this. I will know for next time!

     

    The Avid workflow preset in Resolve suggested makes an AAF to go along with the media created.  This will be found in the same folder as the created media.

    Jef

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  • Sat, Jan 25 2020 5:53 PM In reply to

    • Ron V
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    Re: Sony A7S Mark 2 XAVC-S timecode: workfow with DaVinci Resolve

    Thanks, Jef.  I will use this workflow on my next project. Meanwhile, I have to untangle the problems in my current situation -- a completed sequence that now has to conform in Resolve, linked to its original camera footage.  I am running into conflicts both with timecodes and with filenames in my exported AAF.  I will start new threads with specific questions on this situation.

    Thanks so much, Alayne and Jef.

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  • Wed, Jan 29 2020 8:28 PM In reply to

    Re: Sony A7S Mark 2 XAVC-S timecode: workfow with DaVinci Resolve

    Ron,

    How many clips are talking about? I ask because one can zero-out timecode on clips brought into Resolve, which could solve your problem (albeit rather laborious).

    J

     

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  • Fri, Jan 31 2020 5:57 AM In reply to

    • Martin Fox
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    Re: Sony A7S Mark 2 XAVC-S timecode: workfow with DaVinci Resolve

    I think I saw a workflow in the davinci manual for using avid timeline mixdowns in an Aaf, That could be a way of getting media to the colourist.

    I too have seen mismatch timecodes between MC & resolve, my workflow is to rewrap the camera files to .mov as I copy them from the card, link and transcode in avid, and then avid and resolve read the same code.

    If I leave the file as an mp4 avid uses the generic  link plug in and this is where  I have had trouble.

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  • Fri, Jan 31 2020 5:31 PM In reply to

    • Ron V
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    Re: Sony A7S Mark 2 XAVC-S timecode: workfow with DaVinci Resolve

    Thanks all for this amazing feedback. Lots of the comments are advice for the next time I start a project. I am noting it all.

    This is a call-out for a hack to help me through the current situation.

    Jason, you had asked how many clips are in question.  About 150. What happens when you zero-out timecode? How is it done?  

    Pat, you suggested that I can change the "start" timecode for each clip.  I actually have a list (a text file) with the name of each clip and its starting TC in Sony's LTC.  It would make sense that if I changed the "start" timecode of each linked clip, it would be able to match up with the original footage. I get a warning when I try to change the "start" code. What am I risking by doing this? If I change the start code, won't it wreck the existing link between my timeline and the linked footage? Is there some clever trick I can do with an Aux TC track?

     

     

     

     

     

     

     

     

     

     

     

     

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  • Sat, Feb 1 2020 1:29 PM In reply to

    Re: Sony A7S Mark 2 XAVC-S timecode: workfow with DaVinci Resolve

    Ron,

    How you change TC in Resolve is by right-clicking each clip (or group) and go to "Clip Propertites" where you'll find a tab for Timecode, however, this may be a can of worms with that many clips, especially if some have identical file names. 
    I'd submit your way out of this is the old-school round-trip method which uses the Avid Mediafiles (instead of the camera originals) to get the media to Resolve.
    You said you've relinked to the full-res clips in Avid, so make certain the clips have NO color adapters applied in the AVID source-settings, change your timeline resolution to the best possible size for your deliverable (i.e., matching what was acquired by the camera so AVID isn't scaling), right-click your sequence and consolidate with handles to a separate location other than your main mediafiles folder, and export that new sequence's AAF (you can also do those two steps in one via export AAF by configuring the export AAF settings dialog box). Make sure you select a high-quality codec.

    In Resolve, you'd import that AAF and tell it to automatically find/link this new consolidated media and you should be good to go, coloring off of the AVID generated mxfs AVID made via the consolidation. Once-colored, Resolve renders these to yet another location and spits out a new AAF for you to import that links to the colored mxfs. 
    There are many AVID/Resolve round-trip workflows published out there that cover this (even a forum thread being recently discussed).

    When all else fails, and you can get away with not needing handles, you could export a high-res QT of your timeline that the colorist can use to color via scene-detection.

    Good luck,

    j

    Hackintosh i9-9900K, AMD Radeon Vega 64, 64 GB RAM, m.2 SSD, 8x 10GigE to Terrablock, BM SDI 4k, currently running Mac OS 10.14.6. Ultimate 2020.12.0 [view my complete system specs]
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