Making Avid MXF Dailies on a Mac in Resolve 12

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CONTRIBUTED BY GLENN DERRY

This Tutorial assumes the following:[edit]

  1. You or the DIT in charge on the shoot are using Pomfort Livegrade or similar onset Live grading application
    and only want to apply those looks to your footage prior to delivery to Editorial. THIS IS NOT A GUIDE FOR COLORISTS.
  2. You are comfortable with computers and file management.
  3. You have an attention to detail.

Software required:[edit]

Davinci Resolve 12
https://www.blackmagicdesign.com/products/davinciresolve

Additional Software that is useful but not required:

Avid Media Composer
http://connect.avid.com/media-composer-trial.html
Shotput Pro
http://www.imagineproducts.com/?main_page=product_info&products_id=2
Pathfinder
http://www.cocoatech.com/pathfinder/

MEDIA MANAGMENT[edit]

OFFLOAD MEDIA[edit]

Offload the media from the camera masters using your chosen method

    • ADD MEDIA OFFLOAD TUTORIAL HERE**


LUTS

  • Create a new folder for your projects LUTS in the following Path:

/Library/Application\ Support/Blackmagic\ Design/DaVinci\ Resolve/LUT/
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  • Im currently working on a Hallmark commercial so my folder is called “Hallmark”. Christmas Ornaments. Deal with it.


OPTIONAL: make an alias to this folder on your desktop so its easy to find. Control Click on your Project folder
and click Make Alias. Drag newly created Alias to desktop

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  • Move the LUTS created from LIVEGRADE in .dat or .cube format your Project folder.

MEDIA SETUP IN RESOLVE 12[edit]

RESOLVE[edit]

  • Open Davinci Resolve 12


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  • Make a new user if you need to. I made one called Colorist. Double Click on the User name.


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  • Create a New Project.


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  • Double Click on your project. Resolve is now Open.
  • Click the Media TAB bottom center.
  • Click the small gear in the bottom right to set the Project Settings.
  • In the Project Settings Popup make sure Master Project Settings is highlighted
  • Select your timeline frame rate (mine is 23.976)


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THIS PART IS IMPORTANT - IF YOU MESS THIS UP THERE WILL BE PHONE CALLS FROM POST

  • Scroll down to "Conform Options"
  • Make sure that "Embedded in the source clip" is selected
  • If shooting Arri ProRes then Select ->Assist using reel names from the:->Source clip file path name

Change the Pattern to */%/R.* if shooting Arri Prores

  • Click save


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ALTERNATE CONFORM OPTIONS (ASK POST FIRST)

  • Select ->Assist using reel names from the:->Embedding in source clip file


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  • If you are using a CDL workflow you should also do the following:
  • Go to the Color Section and under General Settings Select "Luminance mixer defaults to Zero"


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  • Click Save

ADDING MEDIA TO THE RESOLVE PROJECT[edit]

Make a BIN[edit]

  • Right click in the lower left and corner under master and select “Add Bin”.
  • Name your bin the Reel Name of your media. (mine is A012)


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Add VIDEO to your Bin[edit]

  • In the Top left Section under Media Storage find the folder with the Video Media you want to import.
  • Right Click on the folder and Select “Add Folder and Subfolders into Media Pool"


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Add SOUND to Your Bin[edit]

  • In the Top left Section under Media Storage find the folder with the Sound Media you want to import.
  • Right Click on the folder and Select “Add Folder and Subfolders into Media Pool"


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AutoSync the Audio[edit]

  • Right click on the Bin and select “Auto-sync Audio Based on Timecode"


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  • If you need to Hand Sync the Audio the Tutorial is here:
    • Add Link to Hand Syncing Audio Tutorial for DITS**

METADATA[edit]

  • If you need to add take name Additional Metadata do it now. This is required for MOS.
  • Click on your source clip
  • Under the Metadata section right hand side left click the dropdown to far Right
  • Select "Shot Scene"


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Insert the Scene and Take info

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Do this for every clip that needs scene and take info.
You can scrub thru the clip to the slate or use the script/camera dept notes to help you.

NOTE:
If you want bonus points you can Add camera info such as filtration and lens info in the “Camera” section

CREATING A TIMELINE[edit]

  • Select all of the video clips in the bin
  • Right Click and select “Create Timeline Using Selected Clips"


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  • Name your Timeline

I name mine the Reel Name

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EDIT in Resolve[edit]

EDIT SECTION[edit]

  • we don’t spend a lot of time here when making Dailies but I want you to see it.


  • Click on the 'EDIT TAB' at the bottom center of the screen

Your newly created timeline should be selected if not select it

  • Right Click on the timeline in the media browser section (second column from the left)

Select ->Timelines->Export->ALE

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  • Name your ALE and Save it to your Deliverables folder (I put mine in DIT RAID/Project/Dailies/ALE)

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  • Now is a good time to scrub your timeline and make sure sound is in sync etc….

COLOR in Resolve[edit]

  • There are a bunch of workflows you can use to apply onset lets in the color section. This is what I tend to

do, though its not necessarily the most efficient. You can apply LUTS to each individual clip this way and still
have flexibility to balance shots as required.
'THIS IS NOT A TUTORIAL ON GRADING, JUST THE MECHANICS OF APPLYING LUTS'

  • Click on the 'COLOR TAB' at the bottom center of the screen
  • Note the GALLERY, NODES, CLIPS.
  • Your Timeline should be selected. If not select it.


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  • Select your first clip you want to apply a LUT to in the CLIP Section
  • Right Click on the Serial Node on the upper right hand side NODE section
  • Select ->3D LUT->Project->YourLUT
  • In this case I selected ->3D LUT->Hallmark->500 Series


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NOTE
You can also Right Click directly on the CLIP and apply the LUT if you wish though I personally like the LUT
applied to the SERIAL NODE. I then grade on an additional Serial node so its easy to reverse out the CDL.
If you are applying the LUT to the entire timeline you can switch to TIMELINE mode, Add a SERIAL NODE,
and apply the LUT to it. (This is preferred for CDL workflows)

  • Right click on the VIEWER window and Select ->Grab Still


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  • You should see a new still in the GALLERY


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  • Select all the Clips in the CLIP area and then Center Click on the new Still in the Gallery. The LUT should now

be applied to all the clips (You will see rainbow color around the clip number). Click on a few clips to check
that its applied correctly.

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  • Now you can balance the color on individual clips if you need to.
      • Color Timing Tutorial HERE***

Deliver in Resolve[edit]

  • Click the DELIVER TAB
  • This is where you set you your outputs and render.


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FORMAT SECTION[edit]

  • For Avid MXF DNX 36

Settings:
Render timeline as: Individual source clips
Video Format: MXF OP-Aom
Codec: 1080p 36 8-bit
Resolution: 1920 x 1080 HD
Audio: Check Export Audio (if sound synced)
you may also need to click "More Options"

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  • Scroll down to the File Section

Save As: Use Source Filename
Click “Browse"

  • Browse to the Path you want to render your MXFs to. (I like RAID/PROJECT/DAY/DAILIES)
  • click "more options"


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OPTIONAL: Add a file Subfolder called MXF

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OPTIONAL: Create Addional Prores Output

  • Scroll down to the bottom of the format section
  • Click "Create Additional Output"

Video Format: Quicktime
Codec: Apple PreRes 422 LT
File Subfolder: PRORES

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  • Click on “Select all Clips"
  • Click "Add to Render Que"
  • Click “Render"
  • Smoke em if you got em


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