[Brendan Dillon]

Hi Murray

This might only be relevant to Avid v6.0 and above but I thought it might help anyone wanting to disable openIO devices in Avid.

If you go to Library/Application Support/Avid/AVX2_Plugins there will be an OpenIO_Blackmagic.acf file or an OpenIO_AJA.acf file etc. (depending on what drivers you have installed). Just remove the relevant file and Avid will no longer see the OpenIO device but any other software will.

You can also remove the Avid folder from Library/Application Support/Blackmagic Design but I found just getting rid of the AVX2_Plugin was enough.

I should mention I’m running a Nitris DX and Decklink card without problems so your Mojo DX should also be fine for the cut/grade.

Long time no see mate – hope you’re enjoying the party!

[Brendan Dillon]

[David Steiner] ”
I import them into Resolve (with the “Extract reel name from EDL” config option), but when I import the EDL from Avid it ignores the comment:

003 LE__0065 V C 18:11:23:18 18:11:25:10 01:00:04:02 01:00:05:19
* SOURCE FILE: LE__0065_01″

I’ve always just kept the file name and the clip name the same in Avid. Because your clip name is different you could modify the EDL changeing ‘SOURCE FILE’ to ‘FROM CLIP NAME’. Try opening the Avid EDL in TextEdit and use ‘Find and Replace’ to automatically change all the instances of ‘* SOURCE FILE:’ to ‘* FROM CLIP NAME:’ then save and make sure the file extension is still .EDL

Or try an EDL template in EDL manager that has longer reel names – try ‘file 16’ or ‘file 32’ or I think there’s a RED EDL template on the avid site somewhere that I’ve used before. It makes a CMX3600 list but has up to 16 characters in the reel column.

[Brendan Dillon]

If you’re after the best convert it through a Teranex.

“PixelMoton De-interlacing of video originated material produces perfect progressive frames in preparation for further processing. The processing aperture is adjusted on a pixel-by-pixel basis, which preserves all of the detail of the original interlaced image and eliminates jaggies in the output image.”

[Brendan Dillon]

For 5D work I use EDL with the source file names listed in comments. In resolve I check ‘extract reel names from EDL comments’ and ‘use reel number from source clip file pathname.’ The path extraction to get the file name as reel is */%R.*

Render in source mode ensuring that the renders have the same file name as the source files then relink in the NLE or conform the EDL in the finishing suite.

[Brendan Dillon]

Yep, I have Resolve 8, Symphony v5.5.2 and FCP7 all on the same system – no problems at all.

I have the Nitris DX in slot 3 and the Decklink in slot 4. Only real problem is that once you have two graphics cards and the two video cards installed there are no slots left for fibre or RAID etc.

[Brendan Dillon]

I did a job recently with different frame rates and found the best way was to grade all the 24fps clips in a 24fps Resolve project, 25fps in a 25fps project etc.

I split the FCP timeline up with 25fps on V1, 24fps on V2, and 29.97 on v3 then made a separate timeline of each layer and media managed each one with handles, made an EDL and graded them in Resolve.

Relink in FCP and merge the three timelines back together. Worked a treat! I used the gallery stills to match grades between the three (24, 25, 29.97) Resolve projects.

[Brendan Dillon]

Thanks! This works really well for fixing up the odd shot here but what if a whole bunch of shots need to be revised? Its quite a tedious process selecting the revised clip, switching to the master session, open the render window, mark in, mark out and add to render queue – one clip at a time.

I was hoping the workflow would be something simple like: Adjust the grade and choose ‘add source clip to render queue.’ Or perhaps add it to a group and have the option of rendering just that group or make a new version of each and render just the ‘Version2’ clips. Or even the option to render all the grades that have been modified since the project was opened.

[Brendan Dillon]

[chris magid] “I still want to know what hardware purchases I should be weary of.”

According to the Avid website the Nitris Classic and the Adrenaline will not be supported past v5.5 and a new version of the software will be released in 2011 that is not compatible with this older hardware.

https://avid.custkb.com/avid/app/selfservice/search.jsp?DocId=385855&NewLang=en

They offer to upgrade the older boxes to DX hardware to be ready for the new version and we now know that the new version will be 64bit.

[Brendan Dillon]

Speed changes shouldn’t be a problem if rendering out from the Master Session in source mode.

A good workflow is to Media Manage the FCP sequence and then make an EDL. Take the Media Managed clips to resolve and load the EDL. Two sessions will be created – a Master Session containing all the clips in ‘default’ order, and a session created by the EDL (your cut). Grade using the second session (the cut) and then render in source mode from the Master Session.

All the graded rendered clips will come out the same length as the original ungraded media managed clips.

[Brendan Dillon]

Yes ‘source’ timeline sort is now working with pre-conform workflows. Very nice!