{"id":123903,"date":"2019-12-06T06:00:32","date_gmt":"2019-12-06T12:00:32","guid":{"rendered":"https:\/\/www.premiumbeat.com\/blog\/?p=123903"},"modified":"2019-12-04T14:39:40","modified_gmt":"2019-12-04T20:39:40","slug":"create-ingest-proxies-avid-using-davinci-resolve","status":"publish","type":"post","link":"https:\/\/www.premiumbeat.com\/blog\/create-ingest-proxies-avid-using-davinci-resolve\/","title":{"rendered":"Creating and Ingesting Proxies in AVID Using DaVinci Resolve"},"content":{"rendered":"<h2 id=\"in-this-step-by-step-tutorial-well-cover-the-best-practices-for-using-davinci-resolve-to-sync-color-grade-and-transcode-proxies-for-ingest-into-avid\">In this step-by-step tutorial, we&#8217;ll cover the best practices for using DaVinci Resolve to sync, color grade, and transcode proxies for ingest into AVID.<\/h2>\n<p><em>Note: we recorded this tutorial using DaVinci Resolve 16.1 and AVID Media Composer 2018.12.3.<\/em><\/p>\n<p>The DaVinci Resolve to AVID round trip is an industry-standard workflow used by many professional <a href=\"https:\/\/www.premiumbeat.com\/blog\/what-is-digital-imaging-technician\/\" target=\"_blank\" rel=\"noopener noreferrer\" data-wpel-link=\"internal\">DIT<\/a>s, assistant editors, and post houses. This tutorial is ideal for assistant editors who are beginning an assembly of a show while production is still underway. This process uses DaVinci Resolve to create master clips that you can ingest in AVID, without consolidating or transcoding your media. This is because the proxies you&#8217;ll create in DaVinci Resolve are in the MXF OP-Atom codec, which allows you to drop them into your Avid MediaFiles folder and begin editing immediately.<\/p>\n<p><span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/L-hIpqUWrH8?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox\"><\/iframe><\/span><\/p>\n<hr \/>\n<h3 id=\"1-receive-shuttle-drive-create-backups\">1. Receive Shuttle Drive \u2014 Create Backups<\/h3>\n<p>Depending on the size of the production and your specific role, you may or may not be responsible for creating backups of the RAW files recorded for that particular day. Check with the unit production manager or the dailies house to confirm whether or not someone is in charge of creating backups of the RAW files. If this critical responsibility falls to you, make sure you can create three separate backups of all recorded RAW files. At the end of production, you should keep all three of these drives physically separate.<\/p>\n<p>Do not begin proxy creation until you&#8217;ve created at least one backup.<\/p>\n<div id=\"attachment_123914\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-123914\" class=\"wp-image-123914 size-full\" title=\"Resolve Project Settings\" src=\"https:\/\/www.premiumbeat.com\/blog\/wp-content\/uploads\/2019\/11\/Resolve-Project-Settings.jpg\" alt=\"Resolve Project Settings\" width=\"755\" height=\"400\" srcset=\"https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2019\/11\/Resolve-Project-Settings.jpg 755w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2019\/11\/Resolve-Project-Settings.jpg?resize=300,159 300w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2019\/11\/Resolve-Project-Settings.jpg?resize=277,147 277w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2019\/11\/Resolve-Project-Settings.jpg?resize=359,190 359w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2019\/11\/Resolve-Project-Settings.jpg?resize=543,288 543w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2019\/11\/Resolve-Project-Settings.jpg?resize=560,297 560w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2019\/11\/Resolve-Project-Settings.jpg?resize=150,79 150w\" sizes=\"auto, (max-width: 755px) 100vw, 755px\" \/><p id=\"caption-attachment-123914\" class=\"wp-caption-text\">It&#8217;s critical to create a backup before you begin proxy creation.<\/p><\/div>\n<hr \/>\n<h3 id=\"2-set-up-a-project-in-davinci-resolve\">2. Set up a Project in DaVinci Resolve<\/h3>\n<p>Press <strong>SHIFT + 9<\/strong> on a Mac to bring up Resolve\u2019s <strong>Project Settings<\/strong> <strong>&gt;<\/strong> <strong>General Options<\/strong> <strong>&gt;<\/strong> <strong>Conform Options<\/strong>.<\/p>\n<p>Check the boxes: <strong>Assist using reel names from the: Source clip filename<\/strong>. This step is critical in making sure that the relinking process runs smoothly.<\/p>\n<hr \/>\n<h3 id=\"3-bring-media-into-resolve\">3. Bring Media into Resolve<\/h3>\n<p>Within the Media Panel, navigate to that day\u2019s footage.<\/p>\n<p>Right-click that day\u2019s media folder and select: <strong>Add Folders and Subfolders into Media Pool (Create Bins)<\/strong>.<\/p>\n<hr \/>\n<h3 id=\"4-sync-the-media\">4. Sync the Media<\/h3>\n<p>Ideally, the media folder you just ingested contains a folder with all recorded sound rolls and folders for each camera roll. If the sound mixer and 1st AC synced their timecode, Resolve\u2019s Autosync feature makes syncing media a breeze.<\/p>\n<p>With all media folders selected (sound and footage), right-click and select <strong>Autosync Audio<\/strong> <strong>&gt;<\/strong> <strong>Based on Timecode<\/strong>.<\/p>\n<p><em>Note: Earlier versions of DaVinci Resolve would assume 2-channel audio is stereo and 6-channel audio is 5.1, instead of multichannel mono. To fix this, select and right-click all 2-channel and 6-channel audio clips. Navigate to <strong>Clip Attributes\u2026<\/strong> <strong>&gt;<\/strong> <strong>Audio<\/strong> and select <strong>Mono<\/strong> from the dropdown menu. For more information on resolving this issue, check out <a href=\"http:\/\/droppedframe.com\/2017\/10\/09\/resolve-to-avid-a-dailies-workflow\/\" target=\"_blank\" rel=\"noopener noreferrer\" data-wpel-link=\"external\">this link<\/a>. <\/em><\/p>\n<hr \/>\n<h3 id=\"5-verify-the-sync\">5. Verify the Sync<\/h3>\n<p>Check each clip to make sure the Timecode Autosync was successful. Otherwise, Resolve has a Waveform sync feature that&#8217;ll work in most situations. A last resort is to manually sync your clips using the slate.<\/p>\n<hr \/>\n<h3 id=\"6-create-timelines-for-each-camera-roll\">6. Create Timelines for Each Camera Roll<\/h3>\n<p>Navigate to one of the day&#8217;s camera rolls. All of the clips within this folder should be synced with their respective audio files.<\/p>\n<p>Select all of the clips within the open camera roll folder, right-click, and select <strong>Create New Timeline Using Selected Clips<\/strong>.<\/p>\n<p>Name the timeline and specify the number of audio tracks. You should set this to the maximum number of tracks that any single clip has. For instance, if one of your clips has eight audio tracks, you should set this value at eight. If all of your clips only have four tracks, then you should set this at four, etc.<\/p>\n<p>Select <strong>Create<\/strong>.<\/p>\n<hr \/>\n<h3 id=\"7-add-a-lut-to-the-proxies\">7. Add a LUT to the Proxies<\/h3>\n<p>Most editors prefer working with a LUT or base grade applied to their proxies. You can apply a Log Conversion LUT or a custom LUT that the DIT has provided.<\/p>\n<p>To do so, navigate to the <strong>Color tab<\/strong>, select all clips, right-click, and navigate to the desired LUT via the LUT menu.<\/p>\n<hr \/>\n<h3 id=\"8-export-an-ale\">8. Export an ALE<\/h3>\n<p>With the timeline thumbnail selected, right-click and navigate to <strong>Timelines<\/strong> <strong>&gt;<\/strong> <strong>Export<\/strong> <strong>&gt;<\/strong> <strong>ALE<\/strong>. Select <strong>Save<\/strong>.<\/p>\n<div id=\"attachment_123913\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-123913\" class=\"wp-image-123913 size-full\" title=\"Resolve Export Settings\" src=\"https:\/\/www.premiumbeat.com\/blog\/wp-content\/uploads\/2019\/11\/Resolve-Export-Settings.jpg\" alt=\"Resolve Export Settings\" width=\"755\" height=\"400\" srcset=\"https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2019\/11\/Resolve-Export-Settings.jpg 755w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2019\/11\/Resolve-Export-Settings.jpg?resize=300,159 300w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2019\/11\/Resolve-Export-Settings.jpg?resize=277,147 277w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2019\/11\/Resolve-Export-Settings.jpg?resize=359,190 359w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2019\/11\/Resolve-Export-Settings.jpg?resize=543,288 543w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2019\/11\/Resolve-Export-Settings.jpg?resize=560,297 560w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2019\/11\/Resolve-Export-Settings.jpg?resize=150,79 150w\" sizes=\"auto, (max-width: 755px) 100vw, 755px\" \/><p id=\"caption-attachment-123913\" class=\"wp-caption-text\">How to export an ALE.<\/p><\/div>\n<hr \/>\n<h3 id=\"9-export\">9. Export<\/h3>\n<p>Under the <strong>Deliver<\/strong> tab in Resolve, set the following options for the <strong>Export<\/strong>:<\/p>\n<ul>\n<li><strong>Specify a location<\/strong> on your editing drive for the proxies to write to.<\/li>\n<li>Make sure to export <strong>Individual Clips<\/strong> by specifying as such at the top of the <strong>Export Setting<\/strong> window.<\/li>\n<li><strong>IMPORTANT<\/strong>: Under the <strong>Video tab<\/strong>, select <strong>MXF OP-Atom<\/strong> from the <strong>Format<\/strong> dropdown list. If you miss this step, you won&#8217;t be able to ingest the proxies directly into AVID.<\/li>\n<li>Select your desired codec (<strong>DNxHD<\/strong> or <strong>DNxHR<\/strong> will work for most cases).<\/li>\n<li><strong>Choose your desired compression<\/strong>. In most cases, the <strong>145\/120\/115 8-bit<\/strong> compression offers the best balance of quality and performance.<\/li>\n<li>Under the <strong>Audio tab<\/strong>, select the <strong>Linear PCM<\/strong> audio codec, and set your channel selection to <strong>Same as Source<\/strong>.<\/li>\n<li>Under the <strong>File tab<\/strong>, set the <strong>Filename Uses<\/strong> setting to <strong>Source Name<\/strong>.<\/li>\n<\/ul>\n<p>Select <strong>Add to Render Queue<\/strong> and <strong>Start Render<\/strong>.<\/p>\n<hr \/>\n<h3 id=\"10-ingest-the-proxies-into-avid\">10. Ingest the Proxies into AVID<\/h3>\n<p>With AVID closed, add the newly created proxies to the <strong>Avid MediaFiles<\/strong> <strong>&gt;<\/strong> <strong>MXF<\/strong> <strong>&gt;<\/strong> <strong>1<\/strong> folder.<\/p>\n<p>After the proxies have been added to the Avid MediaFiles folder &gt; 1 folder:<\/p>\n<ol>\n<li><strong>Rename the folder<\/strong> to the recording date of the media.<\/li>\n<li><strong>Delete the two database files<\/strong> that are located inside this media folder (AVID will regenerate these on startup).<\/li>\n<\/ol>\n<p>Open <strong>AVID<\/strong>.<\/p>\n<p>Select <strong>File<\/strong> <strong>&gt;<\/strong> <strong>Import \u2026<\/strong> and navigate to the newly populated <strong>Avid MediaFiles folder<\/strong> that houses your proxies.<\/p>\n<p>Finally, select the newly created <strong>.mdb database file<\/strong>, and select <strong>Import<\/strong>.<\/p>\n<p>The proxies will then pull directly into your AVID project, ready for editing.<\/p>\n<hr \/>\n<p>Interested in the tracks we used to make this video?<\/p>\n<ul>\n<li>&#8220;<a href=\"http:\/\/bit.ly\/34MdO7s\" target=\"_blank\" rel=\"noopener noreferrer\" data-wpel-link=\"external\">Celebration Day<\/a>&#8221; by Make Music<\/li>\n<li>&#8220;<a href=\"http:\/\/bit.ly\/2sNZzkF\" target=\"_blank\" rel=\"noopener noreferrer\" data-wpel-link=\"external\">Start Small<\/a>&#8221; by Alex Kizenkov<\/li>\n<li>&#8220;<a href=\"http:\/\/bit.ly\/2OMV3v3\" target=\"_blank\" rel=\"noopener noreferrer\" data-wpel-link=\"external\">Chill Your Life<\/a>&#8221; by FASSounds<\/li>\n<li>&#8220;<a href=\"http:\/\/bit.ly\/2PgQKqK\" target=\"_blank\" rel=\"noopener noreferrer\" data-wpel-link=\"external\">Cheerful Life<\/a>&#8221; by FASSounds<\/li>\n<li>&#8220;<a href=\"http:\/\/bit.ly\/361Pf6B\" target=\"_blank\" rel=\"noopener noreferrer\" data-wpel-link=\"external\">Never Say Goodbye<\/a>&#8221; by DeKibo<\/li>\n<li>&#8220;<a href=\"http:\/\/bit.ly\/2RkciWh\" target=\"_blank\" rel=\"noopener noreferrer\" data-wpel-link=\"external\">Feel My Vibe<\/a>&#8221; by Ulas Pakkan<\/li>\n<\/ul>\n<p>Looking for more information on working with DaVinci Resolve?<\/p>\n<ul>\n<li><a href=\"https:\/\/www.premiumbeat.com\/blog\/davinci-resolve-keyboard-review\/\" target=\"_blank\" rel=\"noopener noreferrer\" data-wpel-link=\"internal\">DaVinci Resolve Keyboard Review<\/a><\/li>\n<li><a href=\"https:\/\/www.premiumbeat.com\/blog\/davinci-resolves-boring-detector\/\" target=\"_blank\" rel=\"noopener noreferrer\" data-wpel-link=\"internal\">DaVinci Resolve&#8217;s Boring Detector &#8211; Offensive or Misunderstood?<\/a><\/li>\n<li><a href=\"https:\/\/www.premiumbeat.com\/blog\/grading-skin-tones\/\" target=\"_blank\" rel=\"noopener noreferrer\" data-wpel-link=\"internal\">Glowing Results: Grading Skin Tones in DaVinci Resolve<\/a><\/li>\n<li><a href=\"https:\/\/www.premiumbeat.com\/blog\/super-slow-motion-davinci-resolve\/\" target=\"_blank\" rel=\"noopener noreferrer\" data-wpel-link=\"internal\">Working with Super Slow Motion in DaVinci Resolve<\/a><\/li>\n<li><a href=\"https:\/\/www.premiumbeat.com\/blog\/make-objects-disappear-davinci-resolve\/\" target=\"_blank\" rel=\"noopener noreferrer\" data-wpel-link=\"internal\">How to Make an Object Disappear Using DaVinci Resolve<\/a><\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>In this step-by-step tutorial, we&#8217;ll cover the best practices for using DaVinci Resolve to sync, color grade, and transcode proxies for ingest into AVID.<\/p>\n","protected":false},"author":88,"featured_media":123906,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[41,1085],"tags":[5378,5385,5376,60],"class_list":["post-class-post-123903","post-class-post","post-class-type-post","post-class-status-publish","post-class-format-standard","post-class-has-post-thumbnail","post-class-hentry","post-class-category-avid","post-class-category-davinci-resolve","post-class-tag-avid","post-class-tag-davinci-resolve","post-class-tag-video-editing","post-class-tag-video-tutorials"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v18.5 (Yoast SEO v21.5) - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Creating and Ingesting Proxies in AVID Using DaVinci Resolve<\/title>\n<meta name=\"description\" content=\"In this step-by-step tutorial, we&#039;ll cover the best practices for using DaVinci Resolve to sync, color grade, and transcode proxies for ingest into AVID.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.premiumbeat.com\/blog\/create-ingest-proxies-avid-using-davinci-resolve\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Creating and Ingesting Proxies in AVID Using DaVinci Resolve\" \/>\n<meta property=\"og:description\" content=\"In this step-by-step tutorial, we&#039;ll cover the best practices for using DaVinci 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