Media Offline Issue

I recently purchased a Sony A7III & was testing out the 4K features & I've run into issues once in Davinci.

I uploaded the 4K .mov files into Final Cut X then exported my timelines via .xml file to my external hard drive (where the original files were located). I then went to create a new project & upload my .xml file to the project, however I was prompted with a message that said my clips were not found. I then tried to locate the original clips by selecting the folder where they are found, however a message came up that only half of the clips were found. When going to my media pool, the file names of the clips were there but only the audio showed up, no video.

Any suggestions on how to fix this?

I've tried shooting with no picture profile, slog2, and slog3 & have had no success.

Files uploaded directly to Resolve work fine, just run into issues when importing a .xml file from FCPX.

[Peter Chamberlain]

Please detail your OS and if you are on free or studio version.

...however I was prompted with a message that said my clips were not found. I then tried to locate the original clips by selecting the folder where they are found, however a message came up that only half of the clips were found. When going to my media pool, the file names of the clips were there but only the audio showed up, no video.

Generally, when this problem happens, it's because you have conflicting file names or duplicate timecodes. One huge flaw with cameras like the A7S is that every day you shoot, it renames new files as "C001, C002, C003" and so on. That means you could potentially have dozens or even hundreds of files with identical names. The best workflow is to have unique file names for every single clip, and one solution is to add a prefix at the end of the production day, like the date ("042018_C001" and so on) to help distinguish one clip from the other.

Another huge flaw is that the camera does not use external timecode and so cannot employ the usual time-of-day code used on professional shoots. Because of that, every clip begins with 00:00:00:00 timecode, which is problematic for a lot of reasons. If you can overcome at least the filename problem, the workflow can be dealt with.

One solution for the timecode issue is to transcode every clip prior to editing and convert it to ProRes422HQ or a similar codec and new timecode, and just arbitrarily start with Hour 1 for the first shot of the day and keep going linearally for the rest of the shots. This also helps avoid known issues with the overhead of H.264-based cameras like the A7S.

There's also the 8-bit problem of the camcorder, but that you can't overcome.

OS is macOS High Sierra Version 10.13.14
Using the free software

If it's any similar to it's predecessors, the camera should be able to add TC, just no external source, but from it's own clock. Just needs to be activated, in my A7R II it's in the third menu under the 'suitcase' header.

Problem with XMLs from FCP can missing information in the reel/tape field too. You can add that with tools like EditReady.

The naming issue can be overcame by organizing clips in folders or with a tool like Renamer.