Davinci resolve studio 16.1.2 system requiremetns

Then import the AAF NOT automatically importing clips (since they are already in the media pool). We ALWAYS color off of camera originals in Resolve, and almost NEVER from anything exported out of AVID.Р”РЋ) Once you are locked in AVID, do your best to simplify the timeline(s), and export a linked AAF.Р”Сћ) In Resolve, bring source camera files into the media pool. Whether you are editing on AVID from linked material, or transcoded material (in AVID or otherwise), the process is the same. We source from a very very large variety of camera material, so the way I work has been put through it's paces for years. As long as you name it properly, Avid will see it when you bring it back in to Media Composer (assuming you are).Р”Р„t the end of a series, I'll have folders for RAW clips and Graded clips for every show. I often will rename the AvidMedia Files folder from '1' to the show number I'm working on. After grading, I create a folder in the same partition as the raw media, usually named with the show number. Have resolve import and link the clips and you should be good to go. I found Resolve got stuck looking for clips in a normal AvidMedia Files folder structure.Р”В¬onsolidate with handles the final timeline to that partition or drive, that way when you can have resolve only look for your media in one location instead of having it search your AvidMedia files folders that contain all of your media.Р”Р„fter that, export the AAF and import to Resolve.

In my case I make a partition on our Nexis specifically for color correction. I do this same round-tripping constantly and have found that the easiest way to keep it simple is to consolidate the final timeline in Avid to its own drive.

Davinci resolve studio 16.1.2 system requiremetns