Blackmagic Forum

With the current field recorders supporting 32bit float recording it is obvious that we need a proper 32bit workflow for Davinci Resolve. Internally it's all fine but when trying to deliver for audio post production it is basically impossible:

A track that had been recorded too hot in 32 bit can be turned down easily in the edit page.

When you export this as AAF, no matter if you choose 32bit or 24bit, you end up with a clipped file in your AAF with the volume turned down. So there is no way to avoid a distorted clip as soon as the reference gain had been clipped.

So I tried Premiere XML which comes with a IEEE Float format to choose instead of Linear PCM.
It is way better supported and even handles automation correctly as clip-based and not track-based like the AAF preset.
But, a big downside is that all the fades get lost in the export. So again, unacceptable for a proper audio post production workflow. You need to know at least the editor's intention behind automation and fades, if you use them or not.

BMD should definitely make support for IEEE Floating Point in the Pro Tools AAF preset.
And it would be nice if the fades could be retained in the XML export. Then one could at least export to XML and convert that to an AAF with AATranslator.

Does Reynaud’s response in this thread help any: viewtopic.php?p=1064756&sid=5284cbc9b7c59d6f61fc9f4ebc615710#p1064756


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Thanks for chiming in, but Matchbox is a $600 piece of software and I'd rather not have a second conversion step. Implementing a proper 32 bit float export would be the way to go for BM.

timothys_monster wrote:Implementing a proper 32 bit float export would be the way to go for BM.

Not saying they shouldn't, but...seems to me there is valid a path forward right now.

Do the work in Fairlight. Keeping the entire post process in Resolve is one of it's great strengths. Take advantage.

The AAF protocol doesn't support 32bit float, but XML with IEEE float does.

nm

After 12 hours of experimenting with tools like AATranslator and Vordio, I think I actually might have found a way which works only using Resolve!

In Resolve, use the "Audio Only" preset in the Deliver page.
Choose "Individual Clips" and Wave IEEE float 32 bit.
Render your audio files into a new folder.

Then, into the same folder export your timeline by right-clicking it in the media pool -> Timelines -> Export -> Generate New AAF.

Then open Pro Tools and import the AAF as session data and relink the missing files from the folder.

The peaks still look clipped, but they are actually not and even retain their metadata.
And, the clip based volume automation is written to the track automation instead.

But apart from that, you should be ready to start your post-production workflow in Pro Tools with 32 bit FP files!

I'm not seeing Wave IEEE float 32 bit in my options-- am I doing something wrong?

Ideally I'd like to be able to export a single clip from a bunch of compound clips...

The Bit Depth dropdown provides 16, 24, 32, and 32 bit float options.