In the last week I have had two Avid jobs come my way and the troubles I experienced have left me so wondering what the proper current workflows are for each Avid-Resolve roundtrip scenario:
I received a mix of Red & Canon dslr footage:
59.94 drop frame 5D?
I was given aaf's and offline quicktimes for each of the three edits to conform with and only the 2 shorter sequences came in ok..meaning only a couple hours of fixing the timeline which reconnected to either wrong r3d's and/or wrong section of the dslr shots. I was able to clip and move edit points and get it all to match the offline but not easy as I am used to with xml or aaf. The third and longer sequence came in totally messed up, so for that I had the editor just make me a baked out quicktime and edl to chop up with. Not ideal I know in that I could not access the r3d for those red clips but there was no time left.
Should I have asked the editor to make a separate aaf for each frame rate? Also I noticed they cut with mxf version of the footage but I was trying to conform to the camera originals - I tried different conform options but nothing worked on the long sequence!
Also a mix of 23.98 and 29.97 material (all dslr). On this job the aaf and edl did not reconnect to the mxf or the camera originals no matter what options I tried - in this attempt I got a dialog about nested elements or something but the editor said there were no nests? I ended up having the editor just give a flat quicktime and edl to chop up with but I would love to know why this went wrong as well.
Honestly, the problem in not Resolve, its poor DIT work.
With the AVID not being able to work with most files directly, they tend to hack and slash transcode to some offline and start editing.
A proper AMA workflow is in place rather seldom.
The easiest workaround is use Resolve as a DIT station and convert to DNXHD for them.