PC Media Composer 5 AAF or EDL to Mac DaVinci Resolve

[Kaku Ito]

Hello, I'm no expert on MC5 and I want to ask what is the simplest way to conform from MC5 edited timeline to Resolve on Mac.

I received the EDL and AAF but the files seems to be linked to MXF that was imported to MC5 and although I was able to somewhat conform using Premiere Pro and clipfinder, the in points are set to the beginning of the clips.

Do I have to use the automatic duck before bring in to Mac?

 

[Marc Wielage]

The absolute simplest way to go is to confirm within Media Composer, output as a single flattened file (with the highest resolution your system can handle). Take that single file and import it into Resolve. Then take a CMX-compatible EDL, import that into the Resolve, and use it to mark up the existing media to designate shot changes.

You can also conform within Resolve, but there are issues, particularly with multiple layers, effects, and so on.

 

[jake blackstone]

The absolute simplest way to go is to confirm within Media Composer, output as a single flattened file (with the highest resolution your system can handle). Take that single file and import it into Resolve. Then take a CMX-compatible EDL, import that into the Resolve, and use it to mark up the existing media to designate shot changes.

You can also conform within Resolve, but there are issues, particularly with multiple layers, effects, and so on.

Couple of problems with your suggestion.
First, you need a $500 MFX Resolve license in order to read that MFX file.
And second, the preferred method for grading is always to conform the project with the original R3D files, which is very easy to do with proper CMX 3600 EDL, which is platform and software agnostic. Yes, if there are multiple layers, then this has to be addressed first. But it quite trivial to work around it...

 

[Bruce Allen]

Hello, I'm no expert on MC5 and I want to ask what is the simplest way to conform from MC5 edited timeline to Resolve on Mac.

I received the EDL and AAF but the files seems to be linked to MXF that was imported to MC5 and although I was able to somewhat conform using Premiere Pro and clipfinder, the in points are set to the beginning of the clips.

Assuming you have a good EDL and there isn't a ton of multi-layer stuff... can't you just conform using that? You might have to do a bit of text editing search and replace to make sure it refers to the original R3Ds... but if you match on timecode and reel you should be able to just load up the original R3D clips? Avid has very good EDL output.

Tell us more about the project.

Bruce Allen
www.boacinema.com

 

[Marc Wielage]

Couple of problems with your suggestion. First, you need a $500 MFX Resolve license in order to read that MFX file.

Eh... it's only money.

And second, the preferred method for grading is always to conform the project with the original R3D files, which is very easy to do with proper CMX 3600 EDL, which is platform and software agnostic. Yes, if there are multiple layers, then this has to be addressed first. But it quite trivial to work around it...

Funny, I just worked on a major network pilot and this method suited the project just fine. It was more a question of speed and trying to get the show out on time, and this was by far the simplest and most efficient way to go.

If it was a feature and the user had lots of time to locate clips, clear up file conflicts and so on, sure, going with original media is no problem. Regardless, I've worked on some major, major projects that were just DPX files, and we saved a lot of time and data slowdowns by avoiding having to use R3D files at this stage (complicated by lots of visual effects and embedded opticals). As long as the correction range needed is there in the DPX 10-bit log files, I have no problem working with them. It helps to have the DP in the room to set a look on each scene, and all the people I've worked with on Red projects so far have conceded that any LUT they generated was only a rough look for the set and for editing. Because of the drastic change between on-set and color-grading projection environments, the LUTs rarely work in my world. I think they theoretically could, and they're getting closer, but we're not quite there yet.

I received the EDL and AAF but the files seems to be linked to MXF that was imported to MC5 and although I was able to somewhat conform using Premiere Pro and clipfinder, the in points are set to the beginning of the clips.

I'm confused. You have three different programs: Media Composer, Premiere, and Resolve. Why conform in Premiere? If you're editing in MC, why not conform in that? I'm confused why Premiere is in the equation at all.

 

[Kaku Ito]

We were actually successful conforming from the AAF at the end. We had to switch around in the R3D timecode settings. I only mentioned Premiere Pro because we weren't sure how the editor exported the AAF. So tried to see how valid the AAF was using something that we have that works with AAF, which was Premiere Pro.

Bruce, this project is interesting, low budget, but pretty promising. Using my RED ONE with Allstar A-mount with Nikon adaptors. All shot with Nikon F2.8 ED zoom lenses. It must have been challenging but interesting to see how those three zoom lenses come out as a complete story.

 

[Marc Wielage]

Ah, OK. So you just used Premiere to check the AAF. Got it.

Resolve is still a little dicey with AAF's in my experience, but a regular CMX EDL is rock solid from what I've seen. There's built-in conform tools to check conflicting shots and other issues, and they did a pretty good job with it from what I see. I think it'll only get better, once they add layer support in v8.0.

 

[jake blackstone]

Eh... it's only money.

Yeah, especially, if you do MXF job once in a great moon and you're small shop struggling to survive...

Funny, I just worked on a major network pilot and this method suited the project just fine. It was more a question of speed and trying to get the show out on time, and this was by far the simplest and most efficient way to go.

Funny, long time ago we used to master "Friends" on to D2 and did tape to tape final color grading. Yeah, not even D1. Just because networks are looking for the most bang for the buck doesn't mean, that that solution fits everyone's need.
Using DPX in the environment with a lot of VFX is very good workflow solution. But it may eventually be supplanted by using something, like FilmLight's solution- no CDL or LUTs needed. Just send the BL color settings along with R3D files and everyone along the way will be able to understand it. So far announced- plugins for FCP and NUKE. And it works bidirectionally. I'm sure more to follow...

 

[Marc Wielage]

Funny, long time ago we used to master "Friends" on to D2 and did tape to tape final color grading. Yeah, not even D1.

Yep, my old pal Gary Barron at Complete Post did season 1 in 1994. I believe that was one of the very first 3-perf 35mm projects we did. Very nice-looking show; it went to Modern after that initial season, so I assume you worked on it there. D2 was such an awful format. My joke for years was, "D2 combines the worst aspects of composite with the worst aspects of digital in a single format." I was glad to see it fall by the wayside in favor of Digibeta.

Using DPX in the environment with a lot of VFX is very good workflow solution.

Yep, that seems to be what's working at the moment. The problem with workflows is that they're kind of like opinions: there's so many different ones out there.

I'm a big fan of FilmLight and I think they've got the film-out 3D LUT thing down better than anybody else. The question is how long before we don't need film-outs anymore.

I also share your hope for plug-ins, especially for daVinci Resolve. Haven't had the chance to use any with Baselight, but most of my BL work is confined to restoration.

 

[jake blackstone]

Yep, my old pal Gary Barron at Complete Post did season 1 in 1994. I believe that was one of the very first 3-perf 35mm projects we did. Very nice-looking show; it went to Modern after that initial season, so I assume you worked on it there. D2 was such an awful format. My joke for years was, "D2 combines the worst aspects of composite with the worst aspects of digital in a single format." I was glad to see it fall by the wayside in favor of Digibeta.


Yep, that seems to be what's working at the moment. The problem with workflows is that they're kind of like opinions: there's so many different ones out there.

I'm a big fan of FilmLight and I think they've got the film-out 3D LUT thing down better than anybody else. The question is how long before we don't need film-outs anymore.

I also share your hope for plug-ins, especially for daVinci Resolve. Haven't had the chance to use any with Baselight, but most of my BL work is confined to restoration.

Yep, Modern it was
FilmLight in my opinion is the most innovative, out of the box thinking company. I love their philosophy in creating tools, that not just do things, but do it best. I was surprised to see at NAB, that they still had no planar tracker in 4.3. Their explanation was, of coarse we could include the tracker, but we want it to be something special. I have no doubts, that they will do just that.
A small anecdote, illustrating their engineering prowess. I was visiting FL in London and I had a conversation with one of the developers about how on an old 8:8:8 I could use color mixer type controls to create proper Black and white image. I went to lunch. Upon my return I was shown fully working plugin with GUI on a Baselight running on MacBook Pro, that he wrote from scratch in an hour and a half. My jaw dropped... Amazing company...

 

[Kaku Ito]

Guys, "Friends" was me and my wife's the most favorite TV show.