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1. Close project and hide the AVID media files so that AVID doesn't relink to the old transcoded media. Change the name to the AVID MediaFiles folder.

   Change from this
   To This
   Relink to the Storage volume that the raw CAMERA ORIGINAL FILES  .r3d or ProRes or the Sony F5 XAVCHD files are on.  Go to >Tools>Source Browser
   Choose to Link not Import Navigate to the RAW Footage folder for each card Or each day of cards and the folder Locate the original Native Pro Res .movs QuickTimes or  XAVCHD or .r3D etc. Click on Link
   The clips will load into the Bin shown here from each card you linked to. Do this till all the cards are linked and the files appear in the bin.

   
   All the Linked files will load up in a new folder when you choose the default settings.

   When ready to online reconnect to the native ProRes files. Select all AMA FILES in the AMA folder Right click the sequence to relink and choose Relink
   Right click the sequence to relink and choose Relink
   Use the standard relinking options after the AMA media has been mounted Choose Selected Items in All open bins Choose to relink by Tape Name or Source file Name
   If that doesn't work choose Choose to relink by Tape Name or Source file ID
   Change the timeline Clip Color to show AMA clips as a different color so you can make sure you are linked to the "Native" ProRes .mov QuickTimes Go to the Timeline "fast menu" Choose Clip Color
   Choose a color for the AMA clips and make sure the "checkbox" is checked for Linked Clips
   Notice in this timeline only part of the clips turned purple. You should have the entire timeline show purple clips so that you know all the clips are relinked.
   On AVID timeline, you can -Match Frame>Find Bin>Reveal File to double check the files are relinking back to the original native 2K or 4K camera files
   Once the media in the timeline is relinked to the Native Camera files the timeline should look purple (or whatever color you chose for AMA in clip color) showing that the files are relinked to AMA media. You now need to remove any "Color Transformations" or Resizing that you did in AVID because your want Resolve to have the most original version of the media. Select the timeline in the bin > Go to Clip > Refresh Sequence > All This will remove all the LUTS, Resizing, TimeWarps etc. . . Note here if you have a timewarp effect (slo mo or speed up) it's best to "Bake In that shot" What this means is export that shot with the motion effect as a "ProRes" QuickTime and then bring it back in and overwrite that clip in the sequence.
   Check to see if your timeline has any multicam edits. Right click the timeline and choose Commit Multicam Edits
   Click OK here on this message The sequence will be copied and the group edits committed
   If you don't have any grouped clips then no modifications will be made but it is good to check because Resolve won't work with an .aaf that is exported from a sequence with grouped clips
   The next step is to export the .aaf Go to >File > Export
   Note when exporting a .aaf for a "ProRes" AMA linked timeline you can only use the "Link To" method
   To create the .AAF file from a ProRes.mov AMA linked timeline Choose LINK TO on both Audio and Video Must have Link To selected as the "Export Method" for both the Video/Data Details and the Audio Details tabs shown here
   The .aaf for the color correction. Example shown here.	You will have to bring all the original "Native" Quicktimes that you relinked the timeline to and this .aaf to the Resolve color correction session. Ex: bring the hard drive with the quicktimes on it and this .aaf file
   The deliverable for the "Resolve" session will be the folder or folders that contain the ProRes .mov files and the .aaf file	See this link for instruction on how to import the .aaf and media into Resolve.  Davinci Resolve - Final Conform and Color Correction Project Setup - Import .aaf or .xml and Quicktime Anchor _GoBack _GoBack