User Manual

 Automatically import source clips into media pool: Leave this checkbox on to
automatically import the media referenced by the AAF project file you selected into the
Media Pool based on the embedded file paths. If the media files are not automatically
found at these locations, you will be prompted to manually select a directory where the
clips are located.
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Ignore file extensions when matching: Turn this checkbox on if you want to
manually choose a different directory of media to link to; for example, if the AAF
you’re importing links to ProRes Proxy media, and you want to relink to another
directory of corresponding ProRes 4444 or camera raw media.
 Use sizing information: Lets you import position, scale, and rotation transforms from
the originating NLE via the imported AAF project file. These transforms are stored in
each clip’s settings in the Edit page Inspector.
 Import log messages as COLOR markers: Turn on this checkbox and choose a color
from the accompanying drop-down menu for markers that will be placed in the Timeline
with note text describing import errors that you might want to troubleshoot later.
 Import multi-channel audio tracks as linked groups: Turn on this checkbox if you want
to import multi-channel audio, such as stereo, 5.1, and 7.1 audio into individual mono
timeline tracks that are linked together in the Fairlight page. For more information
about Linked Groups, see Chapter 150, Setting Up Tracks, Buses, and Patching. If this
checkbox is turned off, multi-channel audio will be imported into multi-channel audio
tracks in the Timeline.
 Set timeline resolution to: Two fields let you specify the width and height of the frame
size you want to work at in DaVinci Resolve. The default is whatever resolution is
specified in the AAF file being imported.
 Timeline frame rate: By default, this is derived from the frame rate of the AAF file being
imported. If you’re importing an AAF file into a project that already has media in the
Media Pool, the Timeline frame rate is locked and cannot be changed.
 Use drop frame timecode: By default, this is derived from the AAF file being imported.
 EDL frame rate: By default, this is derived from the frame rate of the selected file.
 Use drop frame timecode: By default, this is derived from the frame rate of the
selected file.
 Mixed frame rate format: This drop-down menu lets you choose the method used
to conform mixed frame rates for rendering and playback. You can choose the “Final
Cut Pro 7” or “Final Cut Pro X” methods of conform, while for projects imported from
Media Composer, Premiere Pro, Smoke, or other NLEs, you should leave this set to
“DaVinci Resolve.” This drop-down menu also appears in the Load AAF dialogs when
you import a project.
4 After choosing all necessary settings, click OK.
5 Assuming you left “Automatically import source clips into media pool,” turned on, if the
media linked to by the AAF file is not in the expected disk location, or if you turned on
the “Ignore file extensions when matching” checkbox, then another dialog appears
prompting you to choose the folder within which the media for this project is stored. Do
one of the following:
 If you want to try to relink to media in another disk location: Click Yes, and then
navigate to the folder containing your media (all subfolders will be automatically
traversed as well), select it, and click OK.
 If you want to just import the Timeline with all offline clips: Click No.
Chapter – 50 Conforming AAF Files 942