[Clement Hobbs]

Hi,

We just upgraded to version 8 and were successful moving an AAF sequence into Resolve, everything linked up fine, this was using file based material.
We haven’t tested output with linking back into the Avid (pc Symphony 5.5.1) yet though. Series starts in August so we have some time for testing prior to being dropped in the fire.
One thing we had to do was commit the edits on the timeline to remove any group clips used in the edit as Resolve saw this as nested information and failed to link the media. We’ll have some time this week to complete the testing of rendered material back to the Avid.

With version 7 we had success with edls (cmx3600) on tape based conform materials from the Avid, however when using file based content Resolve couldn’t rebuild the edl correctly so we ended up using scene detect. We were able to add tape #s to the material in the Avid and then see them as reel #s in Resolve but this still didn’t solve the problem.

[Clement Hobbs]

Thanks Adam, I’ll give it a go this morning and see how things work over the next week.

Much appreciated!

Clem

[Clement Hobbs]

Hi Gabe,

We’re in a similar situation here with a Symphony, a Media Composer and a MC software setup.
We bought the Facilis Terablock and have been pretty happy with it. We’ve had no problems running uncompressed 10bit HD off the drives, and the MC Software works very well, able to edit all media formats we commonly use as if you were in one of the more expensive suites, obviously it doesn’t have i/o capability though.

It doesn’t have the dynamic partition size adjustment of Unity though and it can be a pain sometimes when you have too many partitions mounted but that might be more a Windows issue. We have been running it for over a year now with no significant problems.

We will try to hook up a fcp suite to it shortly, mainly for storage use not necessarily project sharing.

Good luck

[Clement Hobbs]

We’ve run into that problem before as well. Our clips were quite isolated and small. We used Combustion for this simply because it did the speed changes a bit better then the Avid:

Count # of frames in 59.94 for each shot, say 90 frames for this example, so the shot is three seconds at 59.94.

If we were to remove theoretical pulldown from the above number we would end up with 72 frames @ 23.976

We sped up the original footage to hit 72 frames then re-imported the result into the 23.976 project.

This didn’t work for every shot but we were able to repair a significant amount of them. Talking heads were fine, long slow pans were a problem because most basic comp packages drop frames to speed up a shot and we would get skipping from time to time.
If this had happened more often, we would have looked into better speed changing plug-ins.

Hope this helps.