After numerous attempts at different workflows, I finally figured out the root of all my issues with using AAFs from Premiere to Avid.
For some weird reason, FCPX (assembly edit) had half the WAV files in Dolby 5.1.
I had to strip all Dolby files down to mono channels.
Basically one by one in FCPX.
Then exported XM, use XtoCC and import in Premiere.
From there I had no issues ever.
But to get it to work in Avid I had to add Pro Tools in the middle.
Exported an AAF with MXF and voila!!
All opened fine in Avid MC.
I could try and relink but all channels are intact and really don't need to add any more stress.
If I have time I will try and open that AAF into Resolve and see if the AAF export works here but I have to move on.
"For some weird reason, FCPX (assembly edit) had half the WAV files in Dolby 5.1."
That's strange -- were those polywav files, by chance? I know that Logic and some other DAWs typically misinterpret polywav files from my location sound recorder as surround-sound files; I wouldn't think Final Cut would do that since polywav files are ubiquitous in location sound for video, but it's possible that you or someone else accidentally set the wrong audio configuration for those multi-channel files -- i.e., instead of "four mono" for a four-channel polywav file it could have accidentally been configured as "left, right, center, surround." Just a wild theory, but it's a good reminder to make sure your audio configurations are set correctly for each audio clip, especially for polywav files.
[Brad Hurley]"That's strange -- were those polywav files, by chance?"
I don't have the experience to know that and that's sad actually since I'm a freakin musician 😉
Would I have made that mistake at ingest?
I did that back early summer doing data wrangling for the same film.
I used FCPX to sync audio for dailies.
I guess something went awry since all the files I've converted were 6 mono channels.
Def have to avoid that next time.
Okay, six mono channels is what might have made FCPX think this was Dolby 5.1, since Dolby 5.1 is six-channel sound.
But what you probably actually had was polywav files from a field recorder (e.g., the Sound Devices MixPre 10T that had six channels. Two of those channels would have been for the production stereo mix (a left channel and a right channel) and the other four would have been individual microphone channels (e.g., two booms and two lavs).
Field recorders typically record polywav files (which are single WAV files with multiple channels) because it's a lot easier to deal with those in post than to have multiple separate wav files for each take. Final Cut deals with these just fine; it brings in all the channels and you can turn off the ones you don't want to use in the audio inspector.
The alternative is to use Sound Devices' free Wave Agent application to split the polywavs into separate individual wav files and import only the ones you want to use. I do that for DaVinci Resolve to avoid having to go through channel remapping, but I don't bother in Final Cut since it's so easy to turn off the channels you don't want to use.
[Brad Hurley]"Okay, six mono channels is what might have made FCPX think this was Dolby 5.1, since Dolby 5.1 is six-channel sound."
Yea I figured that much.
But this isn't my first time dealing with multi-channel audio.
However, this is my first where I started in FCPX then had to supply an Avid MC project.
I had Resolve in there for a bit and it was a mess of a time.
I wasted days over this and so glad it's done.
Have to thank XtoCC, Premiere and Pro Tools for getting this working.