DaVinci Resolve Forum
Round Trip Canon C100 from FCP7 to DaVinci Resolve
Round Trip Canon C100 from FCP7 to DaVinci Resolve
by Brian Gee on Jun 11, 2018 at 6:26:01 pm

I've been editing a documentary in FCP7 that was shot on Canon C100. Now, I'm testing out the workflow for doing a round trip from FCP7 to DaVinci Resolve 14.

Upon importing an XML file from FCP to Resolve, most of my clips were offline. Specifically, it was all of the Canon C100 clips. All of the news clips downloaded from YouTube and all of the Pond5 shots came online right away.

My solution to bring the Canon C100 clips online was to go back into FCP7 and "manually input the tape name into the reel column" of every clip. Also, every single clip begins at 00:00:00:00. When adding clips to the media pool, Resolve assigns time code to each clip presumably based on the time that the original file was made. My solution here was to "manually modify the time code of every clip back to 00:00:00:00" in the clip attributes.

These two manual process worked and I was successful in bringing all of my C100 clips online in Resolve. This also made my CMX3600 EDL work in Resolve as well. Surprisingly, I did not have to do any EDL manipulation.

My question is: Is there an easier way?

Re: Round Trip Canon C100 from FCP7 to DaVinci Resolve
by Shane Ross on Jun 11, 2018 at 7:47:17 pm

No. Because AVCHD is a crappy format. Mainly crappy in that timecode always restarts at 00:00:00:00...clip names start over again when you put in a new card...so you can have multiple clips with the same name and same timecode start...thus why you need UNIQUE REEL numbers so that every NLE knows what is what. Resolve actually tries to solve this on it's own by reading the creating time...this helps IT track it better. And FCP 7....eight years old and EOL...hasn't done anything to make it better.

So what you did was the best thing...and typically what you'd do at the time of ingest so things won't be quite as overwhelming in the end.

Little Frog Post
Read my blog, Little Frog in High Def

Re: Round Trip Canon C100 from FCP7 to DaVinci Resolve
by Brian Gee on Jun 11, 2018 at 8:07:53 pm

Thank you Shane!

Re: Round Trip Canon C100 from FCP7 to DaVinci Resolve
by Michael Gissing on Jun 12, 2018 at 1:01:47 am

With cameras like the C100 and the Sony FS5, file names repeat with each new folder. In the case of the C100 timecode is also set to zero as you point out. That is the perfect storm for post calamity and I have no idea why both those cameras do not allow for unique file names which is the best solution.

I am working on a series at the moment and all original camera files are being bulk renamed to add a unique identifier. So files in each folder gets two extra prefixes - H01_A001_, where the H01 is a reference to a specific camera and shoot day and the A001 is the reel (folderID) on that day. The following _Clip0001.mxf is then left on the end and as each clip increments for each card the files all end up with unique names. This works even if the timecodes are all zero start. There is plenty of free software that does this simple bulk renaming.

I just received the AAF and a drive with the camera originals of the first episode and all but one file reconnected perfectly. This is in a workflow where the camera originals are first copied as proxies for AVID with the matching file name and timecode. As there are multiple copies of the camera originals it is important to do the same renaming on all copies or rename in the field before making backups.

Resolve can be excellent when basic rules of file naming and folder management are done BEFORE editing begins.

Re: Round Trip Canon C100 from FCP7 to DaVinci Resolve
by Marc Wielage on Jun 14, 2018 at 5:23:22 am

Yes, Michael is 100% right. I think the key is in an ideal world, every clip will have a unique file name and non-overlapping timecode,

There are timecode jam boxes you can buy or rent, at least for cameras that can accept external timecode, and that can take care of part of the problem.

For the other part of the problem, my suggestion for workflow would be to rename dozens of files that are like "C0001.MXF", "C0002.MXF", ""C0003.MXF" in folder Cam Roll 01, and instead rename them with a prefix like "061318A_C0001.MXF" for today's date plus "A" for A camera, "B" for B camera, and so on. (Michael's suggestion of "H01" for day 1, "H02" for day 2, and so on can also work fine.) There are dozens of utilities for Mac and Windows that will do this. Rename the files the day of the shoot and before the files are backed up. And then insert all the metadata in the editing program of choice or whatever you use for dailies and transcodes.

From here on, you now have files that will sort in order by date and by camera letter and shoot name. If you have a case where the file folder starts naming the files "C0001" again, then I would use a utility to manually go in and sequentially rename them to the next logical number.

There are a lot of reasons why cameras like this are bad and I don't recommend them. File organization is just a tip of the iceberg.

© CreativeCOW.net