🎬 Why ARRI Alexa's Reel Name Format Is a Pain in the Neck (and How to Fix It)
Daniel Bañuelos- Mar 17
- 3 min read
🎞️ The problem with the reel name in post-production
Editing with ARRI Alexa footage is a pleasure… until you try to edit it and Premiere Pro or DaVinci Resolve decides it can’t find your files.
The problem is usually the Reel Name , an identifier that ARRI automatically generates for its clips. While useful in Avid, it can be a hindrance in other editing systems.
If you've ever encountered clips that don't link correctly when importing an XML or AAF , read on. Let's see why this happens and, more importantly, how to fix it.
🔍 Why does ARRI use such a peculiar Reel Name?
Before you blame ARRI for all your woes, there is a logical reason behind their Reel Name format.
Inherited from traditional cinema: Based on how film reels were organized in the analog era.
Avoid duplicate names: In multi-camera productions, each file has a unique identifier.
Designed for Avid and VFX: Works well in Media Composer and VFX pipelines, avoiding confusion in large workflows.
The problem is that Premiere Pro and DaVinci Resolve don't always interpret this information correctly , which brings us to the next point.
⚠️ Why does this cause issues in Premiere Pro and DaVinci Resolve?
📌 In Premiere Pro:
Premiere expects a simpler, file-based Reel Name format.
If the exported XML does not match the original clip names, the files will not be linked correctly.
📌 In DaVinci Resolve:
Resolve can interpret the Reel Name from different sources : metadata, file name or clip header.
If the project is not set up correctly, clips may lose their link when conforming.
In short, the ARRI Alexa format is ideal for Avid , but can be a nightmare on other systems if not handled well.
🔧 How to fix Reel Name issues when making dailies and conforms.
Here are some strategies to get Premiere Pro and DaVinci Resolve to play nice with ARRI Reel Names.
🛠️ Adjusting Reel Names in DaVinci Resolve
Import your material into the Media Pool.
Go to Project Settings > General Options and activate:
“Assist using reel numbers from: Embedding in source clip file” .
Alternatively, use the file name as the Reel Name if your workflow requires it.
This will ensure that the Reel Names are consistent throughout post-production.
📥 Moving Reel Names from Resolve to Premiere with ALE
1. In Resolve, select all clips and export an ALE ( File > Export Metadata to ALE ).
2. In Premiere, import the ALE ( File > Import ) and link the clips to the correct media.
3. Now, when generating an XML to return to Resolve , it will have the updated Reel Name , making it easier to format.
📀 Recommended formats for exporting dailies
To preserve the Reel Name metadata, use these formats:
ProRes (.mov)
DNxHD / DNxHR (.mxf)
(Check out my previous articles on the advantages and considerations of these codecs in post-production)
⚠️ If you need to export in H.264:
• Use QuickTime (.mov) instead of .MP4 , as MP4 does not retain metadata properly .
🎬 Conclusion: Best practices to avoid forming problems
✅ Before editing, set the Reel Names correctly in Resolve .
✅ Export dailies in formats that preserve metadata (ProRes, DNxHD) .
✅ Use ALE to transfer metadata between Resolve and Premiere .
✅ If Premiere is losing links, adjust the Tape Name manually .
If you follow these steps, creating projects with ARRI Alexa material will be much less problematic and you'll avoid unpleasant surprises in post.
🎥 Having trouble with your workflow? I'll help.
If you need advice to improve your workflow in conforming, dailies, colorization and advanced post-production , contact me .
💡 I offer specialized consulting to optimize your processes in Premiere Pro, DaVinci Resolve, and ARRI camera workflows.
🚀 Let's make your post-production more efficient and headache-free!
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