export to pro tools without original audio files

Hi,
when you export to pro tools from davinci all the audio synched with video clip loose any possibility to be reconnected on pro tools or even premiere or avid to the original audio files and get the metadata.
this is for me a major problem, because all you get from the export to pro tools option is mxf files without original names and without metadata(no way to know which mic is on the different channels).
Beside that even open the aaf on protools is very pronblematic. Usually I have to do a round trip to premiere and then make another aaf the is more easily readable in pro tools.
Failrlight seems great but most audio editor right now still use pro tools so when i finish to edit a movie or a documentary I start to become crazy tryng to bring audio outside davinci.
Is only me that have this problem? davinci is fantastic tool for editing right now, but this sound limitation makes a nightmare the end of the work.
any better and succefull experience with audio from davinci on pro tools?

Which OS?

Which version of Resolve?

Which preset (ProTools or Avid)?

Which version of ProTools?

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Sorry,
you are right! But basically is an on going situation from resolve 14 (when I started editing with davinci leaving avid premiere and fcpx) and until now it's not much different from that time.
I use basically Windows 10 and i use always the latest version of davinci(so now 15.1). But when it comes to export audio i try each time with different system and software in order to find a solution. So I try export from mac and windows, round trip using premiere, fcpx and avid… but aaf, xml or edl are useless when you have sincronised clip on your timeline. there's no way to make the sound departement works with the original audio files. The only way is to use the export for protools that create new mxf files with different names from the original and no audio data at all(no levels and cross fades too…)
I find very strange that very few editors complaing about the situation since each professional work mostily is worked on pro tools(and lucKly colored on davinci!). I talk about fairlight to each and every sound editor I know and they are interested but it's a matter of few years more before everybody step on fairlight like I did on davinci for the editing process. So a solution without headache is very needed. Even somenthing odd like x2pro in final cut x!! But if i miss something I'm willing to learn!
thanks.

So I try export from mac and windows, round trip using premiere, fcpx and avid… but aaf, xml or edl are useless when you have sincronised clip on your timeline. there's no way to make the sound departement works with the original audio files. The only way is to use the export for protools that create new mxf files with different names from the original and no audio data at all(no levels and cross fades too…)

Which specific version of Pro Tools? They fixed quite a few things in v11 and v12, and reconforming in Pro Tools is now said to be easier than it was in 9 & 10.

One potential workaround: export an XML and then use a 3rd party program like Conformalizer or Reconformer to allow Pro Tools to import the XML, locate all the original audio files, and then conform all the original sound takes in a new Pro Tools session:

http://www.thecargocult.nz/conformalizer.shtml
http://www.reconformer.com/

A lot depends on how the edit session was prepped and how the files were named and so on, all basic workflow stuff. If the sound files were renamed or camera audio was used at any point, this can get problematic. You can redo this manually, but it takes quite a bit of time -- but is doable and I've seen it done.

I use basically Windows 10 and i use always the latest version of davinci(so now 15.1).

Are you using ProTools Ultimate 2018.x?

there's no way to make the sound departement works with the original audio files. The only way is to use the export for protools that create new mxf files with different names from the original and no audio data at all(no levels and cross fades too…)

As a sound editor, the track and clip information is always discarded within ProTools anyway. Sometimes it assists in determining the intention of the picture editor, but more often than not it isn’t required (the picture editor or director's notes are often more useful). The picture editor's AAF is always copied without all the automation and fades, and placed on new tracks below, with the source AAF muted on the tracks above (for reference). Pretty standard way of working.

Sometimes (when not using the collaboration functionality), an identical process is followed within Resolve, the picture editor's Timeline is duplicated, and all Track and Clip Attributes removed. The option to switch to the picture editor's Timeline as a reference is always available.

So a solution without headache is very needed.

With ProTools, literally half my time was spent conforming and reconforming the multiple daily picture cuts, time lost that should be dedicated to editing and mixing. Based on a recent survey by the developer of a widely used conforming tool for ProTools, this is not out of the ordinary, and 72% of Projects require a reconform at some point and more than a 1/5th of respondents are spending 50% or more of the allotted time reconforming.

Keep in mind that even ProTools struggles with Media Composer produced AAF, and it’s an unnecessary headache ensuring a decent conform, that literally eats away available session time. Again, not out of the ordinary based on responses, since over 70% of Projects originate in Media Composer based on the survey.

A few potential workarounds (all methods used successfully at some point on a variety of Projects):
(1) Use the FinalCut X Preset and use X2Pro to create an AAF
(2) Export an EDL and use Conformalizer (alternatively EdiLoad or Titan)
(3) Archive your Resolve Project and provide that alongside the AAF
(4) Use Resolve's “Bounce Mix to Track” and “Bounce Selected Tracks to New Layer” functions, provide the audio alongside the AAF - just remember to clear both Track and Clip Attributes, along with any automation first.

Conforming, Reconforming and Session Interchange all form part of a legacy workflow, that Resolve liberates sound editors from.

Thanks for your kind reply!
I know that in pro tools many problems arrive from conform operation even coming from avid. But with davinci i faced the most problematic situation sending audio to protools…
Most of the problem to me depends on how it behave the audio once is syncronised with a video (wich is the most common situation in cinema). The audio clip become a slave to the video and it seems like is a camera audio. So when you get the xml or edl or fcpxml from the sequence you dont have any reference to the original audio file so it's impossible to conform in any way. Round trip with avid is almost impossible, i tried every kind of aaf, edl ecc. Same situation with Final cut because you have only data to relink video but no audio at all. X2pro is useless too because the fcpxml has the problem of forget audio data of the original clip. The only way i found to relink something is to open an aaf in premiere!!! but a lot of files doesn't relink(for esample audio file without the video from a syncronised clip). So righ now i export for protools from the delivery option and then give this to the sound department. Normally they are not able to open in protools 10 or 12 (dont know about the latest 2018) so i open in Premiere the same aaf i made for protools and I do another aaf and it works on protools. Any way the audio file in not wave or aiff anymore but mxf recreate from davinci with the name of the original video files with whom they were syncronised in the davinci project.
So to me it would be a great update the possibility to have in xml or edl or aaf the data that make possible to link to the original audio of the clip syncronised in davinci. So after that upgrade it would be easier to confor some how.
Clearly I hope the very soon audio editors will use fairlight so there will be no problems and no waste of time reconforming. I'm confident it will happen but in the mean time an easier solution in Davinci would be helpfull to convince other editors and assistant editor to jump on davinci and forget about the old fashion avid.

Normally they are not able to open in protools 10 or 12 (dont know about the latest 2018)

ProTools Ultimate 2018.x provides significant improvements to AAF imports (especially those originating from Media Composer).

Both the Avid and ProTools presets in Resolve 15.x are much improved over version 14, with fewer issues with ProTools Ultimate 2018.x

all right! I'll try to find pro tools ultimate to see if it's easier with aaf. But the way audio files behave when syncronized needs to change anyway, otherwise there will not be a possibility to conform and we just have to use new generated audio file from davinci wich for someone is a problem, like it would be a problem to give the colorist not the original camera files but an exported file in a new codec...