AVid to Resolve - wrong timecode in resolve
Hey Davinci people
I have a test sequence of about 15 shots, when I send them from Avid to Davinci via AAF, about half the clips don't make it. The shots have the time code converted to 33 or 34 hour code in Resolve and don't show up.
If I open the same AAF in Premiere Pro, the shots are correct, but if I export an XML from Premiere Pro to Resolve, the exact same clips have the same problem.
It's a 2 camera shoot (not multicammed) both shot on XDCAM Sony 800s, transcoded to DNXHD 220. Everything looks fine in Avid and Premiere. It's just Resolve that can't connect properly.
[John Christie] "The shots have the time code converted to 33 or 34 hour code in "
Not sure I comprehend "33 or 34 hour code"... I thought TC only went up to 23:59:59:29 or is this another thing?
[John Christie] "when I send them from Avid to Davinci via AAF, about half the clips don't make it."
They don't show up in Media Pool or don't connect in timeline? If they aren't being imported into Resolve automatically, try to navigate directly to them using the browser -- Resolve can be remarkably obtuse about recognizing media sometimes, even for the minor transgression of not having a .mov suffix. If the Resolve browser can see the original source clips, can they be imported... do they re-link, can they be force conformed...?
"I always pass on free advice -- its never of any use to me" Oscar Wilde.
Reason for all of this so I think:
Maybe this is helpful, and here are some more thoughts
I have seen this AAF non-standard hour timecode support with rolling-over-hour-timecode metadata with sources that were MXF files and also with AMA Direct Link of QuickTime movies to name a few.
timecode hour metadata can roll over more than once.
Non-standard hour timecode metadata (example 35:35:36:11) seems to be specif to tapeless source files. All tape decks/tape sources that I have used for digitizing so far, after hour 23 will go to hour 00. While if I have a source file with embedded metadata like hour 35, Avid and Resolve will display hour 11 metadata for the clip.
For fun, I would love to know if there is a tape deck out there that displays hour timecode metadata like hour 99 or hour 104?... ...A while back I called blackmagic support asking why I can have a clip in the Resolve media pool with hours like 24, 33, 34, 35, etc?... The response was that graphics need this sort of timecode support deliverable.
***A master clip in an Avid Bin (just tested this out on mc v8.2) and a source file in the Resolve Media Pool (Resolve v11.1) will both roll over the hour of timecode metadata after hour 23. thus by default instead of displaying hour 34 metadata timecode one would see hour 10 metadata timecode in both the Avid Bin and the Resolve Media Pool. An AAF seems to support timecode metadata like hour 33, 34 etc, and in the Edit Page the Edit Index is displaying timecode metadata with hours beyond the standard 00-23.
Another thing I have seen come up with tapeless sources: How the application counts timecode with a clip starting at hour 23 and rolls to the next hour:
Start Timecode hour 23 master clip will it go to 24 or 00 timecode metadata?
Example of how Avid and Resolve count hour timecode metadata of a master clip differently(23.97 frames per second example below)
Avid, if the source master clip timecode metadata is 23:59:59:23 the next frame will be 00:00:00:00.
Resolve, if the source master clip timecode metadata is 23:59:59:23 the next frame will be 24:00:00:00
For Master Clip's timecode metadata and then the user changes the timecode metadata, currently Avid and Resolve are different with how that timecode is in the Sequence/Timeline:
---> tested on Resolve version 11.1 and Avid version 8.2 windows os 8:
(Test/Results Example 11-9-14 Resolve 11.1 windows os8 | Avid 8.1 windows os8 | quicktime pro 7 to view the actual source timecode metadata by default)
I know this thread is from a while back but I've run in to a similar issue and was wondering if you might have some input.
I'm working on a film that is shooting on an older model of the Arri Alexa that is recording both Uncompressed HD (.dpx), as well as ProRes 4444 proxies.
I'm currently trying to set up the project for the editor in Avid and my plan was to ingest and transcode the ProRes proxies to DNxHD36 for an offline workflow, then export an AAF for resolve and relink the sequence to the Uncompressed HD.
The problem is, I've tried a test on this and I can't get the sequence to relink to the uncompressed files in resolve. The file names of the DPX are slightly different than the ProRes footage. (i.e. DPX = C001_B002R1YD , ProRes = B002C001_160612_R1YD)
The DPX files will show up into the media pool and I can color with them just fine. I just can't relink to my sequence.
I also noticed that the source timecode on the DPX files is about 2 frames off from the Pro Res files. I've tried reseting the timecode of the DPX clips to match the ProRes clips in DaVinci, but that didn't work. I've also tried various changes to the conform settings.
I'm hoping I can avoid having to transcode the DPX files themselves since that would eat up so much time.
Any suggestions or help would be appreciated.
Running Avid 8.3 & Resolve 12 Lite