– Make sure Link to source camera files is selected – Deselect Automatically import source clips into media pool
– Make sure Automatically set project settings is selected
In the Load AAF… window, follow the settings above. After hitting OK, the Load AAF dialogue window will appear, as seen below…. Navigate to the folder on your drive that contains the exported AAF from Avid. In the Relink window choose Source Name, or even LINK, the custom column your created if you did that still preserves the original file name (source name should still be fine since you shouldn’t change this). In the Relink window check Selected items in ALL open bins. Right click on the Main sequence > Relink. Select the original footage files in the bin they’re in. it was done by AMA linking), but if the cut was done from transcoded files you will have to relink the footage. You shouldn’t need to do anything else if the original edit was already linking to the original files (i.e. Edit this sequence to delete any unused tracks and all of the audio tracks too! Remember we’re color correcting, so this is just useless to us. Now make a duplicate of the final picture lock sequence and place it in your bin. I always name this something like “ AVID to DAVINCI” or as simple as “ COLOR CORRECTION“, because I don’t want to interfere with the editor’s work, as much as I don’t want them touching the sequences I create. You know, just in case.ī) Prep your sequence for AAF export – relinking When the select window appears, choose LINK and hit OK. click the NAME column to highlight it’s contents. create a custom column named LINK (or whatever you want),. Although we’ll see how to relink this anyway by using the “Original File Name” column, it’s always on the safe side to keep a column of metadata with the original file name too. This guide is intended to detail the workflow of roundtripping an AVID MC (Media Composer) project using RED camera to DaVinci Resolve for color correction and then back to AVID for finishing.Īfter syncing, the name of your clips end up being something different from the original video footage. What I did take with me was a whole lot of experience on how AVID projects work and deals with transcoded files and databases. I had linking problems in Media Composer, that resulted in messing around with proxy files, changing names (wait, what? never-do-that!) and finally almost losing everything. Editing Drones Don’t Fly When the Sky Is Grey was such a nightmare that I finally fell back to the stress free Premiere to be able to seamlessly go back and forth between editing and color correcting software.
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