Dailies Sync Methods for Avid Media Composer
From Chuckipedia
syncing in Davinci Resolve
- method
- audio and video media brought into resolve and synced
- synced clips exported as .mxf media
- metadata for audio exported as ALE
- master clips with married video and audio brought into Avid Media Composer
- advantages
- disadvantages
- editor is denied access to audio and video proxy files that match original media lengths in a 1:1 relationship
- because video and audio captured during a take start and stop at separate times resulting in different lengths between the video and audio takes, synced Resolve master clips either have to truncate audio or video or add filler to create an audio/video clip of consistent length
- because the audio/video relationship is burned into a single master clip, the Avid editor is unable to match frame back to a proxy of the audio or video showing its original full lenght
- because video and audio created on set will never be the same length, a synced clip that includes video which is longer in length than audio will compensate the shorter audio by adding silent filler to make up the difference
- adding filler silent audio is a waste of harddrive space
- the ALE metadata is unable to distinguish between filler audio and actual audio
- for takes using multiple cameras, the same audio take is synced to each camera, resulting in extra storage space being used to store the same audio -- once for camera A, a second time for camera B
- a lot of audio metadata is lost in the process and doesn't make it into the Avid
- bug in Avid Media Composer ver2021 could possibly be linked to Resolve syncing
syncing in Avid Media Composer
- method
- proxy audio and video media is brought into Avid and synced within Avid
- advantages
- there is a 1:1 relationship between the length of the proxy video and audio files and the original media
- the full (and accurate) length of the audio and video is available to the editor
- no master clips with "filler" audio (and dubious metadata)
- disadvantages
