The point is this software is all pretty much the same. It can cut and splice and overwrite. It can do comps, it can transcribe audio. It is the motor memory that really makes you faster on one or the other. You wanted features…I gave you features…I talked about cost, I talked about shared projects, I talked about vfx handling g, I talked…

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There is no such thing as “better”. All programs have their pros and cons, which includes price.

If we want to look at Oscar nominations, than it is only fair to point out that most of the Blackmagic nominations were for grading not editing. Avid is still by far Hollywood’s choice as an edit platform.

Does that make it a “better” editor? No it…

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Check out the shure mv6 gaming microphone. i recently bought this one from amazon. I’ve gone through a few mics over the years, and this is by far the cleanest sounding one i’ve had without breaking the bank.

For a newbee to resolve, I would suggest an old school oval shape on the person, that tracks with the person. Circular power window, track them, then either brighten the node with the circle, or invert it and darken everything else. I would suggest you could freeze the shot, highlight the person, so everyone knows who to look at, then go back to…

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Resolve doesn’t float many (if any) of their windows. The UI is pretty locked down.

if you want to mask something on v2 to make it keyable over V1, you need to add an alpha output to the V2 node tree. (right click on the open space around the right hand part of the node tree and add alpha output) Then make your mask and drag the blue output from that mask to the alpha output plug. This will give you a keyable layer on V2

call up the gradient window tool, and set the softness to zero, or do a box, and place the box on screen so it covers either the top or bottom half of the screen…invert if necessary.

It’s an interesting idea. I’m curious as to how you made your edl. Did you painstainkingly go though each clip and type up the inpoint and outpoint, and create all the other columns manually?

Where did you get your outpoints from? Unless your transcription does a timecode for each word, you would have to figure out the outpoint manually wouldn’t…

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sounds like a graphics card issue. What are your system specs?

I’ve been on Avid since 1995, and have had many practicum students come through my facilities.

My number one rule to all of them is “learn how to map your keyboard” and “store your keyboard mapping in the cloud, so it is easy to transfer around.”

My most frequently used buttons are F8 (add edit), F7 (match frame) and F6 (Find bin). These 3 get…

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If you are re-using color from one clip to the next, and there is. Magic mask in that setup, you will get that message…even if you try to reuse a mask on the same clip later in the show, you will need to retract before outputting.

In resolve 20 the magic mask is good, but you have to be aware if it if trying to copy/paste nodes.

Is this a paid job? If so I would be asking for better files to start with. If it I just for fun…than you might just have to set it to go overnight, and check in the morning.

I’ve never had success with Avid’s insert methid. Other than paying a lot of money for the cinetools software, I find it much easier to just re-export. I do have a free program that will insert into a prores file, and I will use it in a pinch,but it takes less than the time for a cup of coffee to export a half hour broadcast show…not worth the…

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I have only used the data track for closed captioning. You can add a .scc file to the data track, export the show to a few file types…xdcam .mxf is a common one…and you will have embedded captions in your file…but if you bring that file back in, and add it to a timeline, it will retain the data track, but if you start editing with it, the…

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clips with every timecode starting at 0:00:00:00 are notoriously bad to work with as well.

My workflow is to ensure all these lower end camera clips have unique names, and have shoot time of day timecode attached to the clips before any editing takes place. As Michael said Drone footage is a red flag immediately when it comes into the shop. As is…

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Yes a bit more information on what type/size of file you are trying to playout, and what the playout system is setup for. I’m assuming you are not creating a dcp for the cinema, but instead trying to play a quicktime? If it is a DCP, then what bit rate did you use to create the dcp. (Bigger isn’t always better)

I do transcodes out of Resolve all the time. I don’t usually transcode out of Avid, but I have. But no, i have never tried to transcode the same file at the same resolution out of both programs , and then switch back and forth.

Honestly, my first question is “why?” It sounds like you are trying to see how far you can go before you confuse the…

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I believe if you go into the combined view mode for script and text…can’t remember what it is called, select all the clips, and hit the “A” button, it will send all those clips to the start frame.

Then you can edit all your vfx the way you want it to work. Personally, i like using the position bar as a mark point about 90 percent of the time.…

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I woild just send the aaf from the timeline as is. There is no need to strip any effects off per say. If there is an effect they don’t have, it will come up on their end as an “unknown effect”, which will force them to find out (from the reference movie with tc burn you are also sending) what is happening at that section. The underlying clip…

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Same answer…either key frame your colour change from 0 to 100 to 0 again…or whatever it needs in your situation, or you can keyframe the opacity of that particular node to turn it off when not needed.

As this is a shared project, my guess is bin locking is not working correctly, and binnames are being changed in one location, and they are perhaps open somewhere else as well.

Tim, I’m just curious because I have one of those, but i honestly was under the impression that it would not work as a stand alone device. It is listed as an expansion enclosure. Mine is used as Raid #4 in my Qnap universe, but i thought it needed the main QNAP brain to work at all.

Just curious if it is working for you as a stand alone device.

Back to your original question, you should be able to create avid mxf media on a 2024 version of Avid, and use it on a 2018 system. You will come up with more issues if you are trying to open timelines back and forth, but the media itself should be fine.

If you want to do a workflow test, I’d be happy to convert one of your clips to mxf media and…

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You have a few other options that may work in Resolve.

You can change the source folder for media in a bin.

You can turn off your conform lock, then reconform the entire timeline to clips from one specific bin in Resolve. (Batch reconforming all your clips at once)

You can color code all the original clips before reconform, to help you identify which…

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This sounds like a nightmare.

“here is all your footage, but you can only use half of it….but i’m not going to tell you which have you can use.”

Sounds like someone (Director/Producer) should be doing a bit more in their notes to help the editors manage this minefield.

I think it comes down to how the effect is built in Avid. If the editor is using the motion effect editor, thise should come across into Resolve. It is possible some if the older time warp tools don’t work. (Trim to fill comes to mind…might not translate).

For resizes, same thing. If they are putting the effect on the track above the clip, i…

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Dado has a lot of experience in the field, but no course will turn you into a “professional colourist”

Practice, practice, and more practice, using real word footage, in real world situations, with real clients making real (sometimes outrageous) demands is the only way to become both proficient and professional.

Darron has also run a paid course a…

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It is called marketing.

Would you like fries with that as well?

if you select your clips in the bin, and right click and select source settings, you will find a colour management tab, where you can remove the luts.

At the bottom of the tab, you will see an “apply to all” button.

After that, you may need to find the “Update sequence” setting, if you have already cut with the shots with a lut attached, as the…

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The only common delivery that wants 24 would be a DCP for a theatre.

Creating a 24 dcp from a 23.98 master is quite simple

Pretty much every other delivery you will be asked for is going to be either 23.98, 29.97, or possibly a PAL conversion down the road. All of which are easy to create from a 23.98 Universal Master.

I would continue down the road…

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23.98 should not be your issue. 99 percent of my projects are shot and cut at 23.98.

4444 prores 4k…now that is a different story. That is a lot of bandwidth to try to pull off an external drive for an edit. I would suggest you get everything transcoded to dnxhr SQ (or lower) at HD.

Then sync your audio and video

cut your piece

relink to the…

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I do wonder what the time cost will be however. Some of those Topaz outputs take some serious time and horsepower.

i have it setup on a second system, and it can feel free to chug away for hours if needed while i’m doing other shots.

The free version of Resolve will do all you need to do.

I convert to Avid friendly media. Usually .mxf files, dnxhd of some type.

If you don’t want to use Resolve, than transcoding inside Avid would probably be the next best option. There is metadata that needs to be maintained during the transcode process, to enable you to go back to camera…

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Yes, Avid has been able to work with Red footage for over 10 years.

You are going to need to download the red ama plug in.

You will also probably want to transcode, as red files can be a pretty heavy lift, depending on your debayer settings.

I personally do my transcodes in Resolve simply because of the speed of the workflow.

You also have to be very aware of what frame rate your editor is working in for motion graphics.

Stills obviously don’t care.

there is a command to select everything to the right of your curser.

Turn on the tracks you want, and then do a “select everyting to the right”

I use text++ for my ale editing.

Another method you could use would be to unlink the clips in Avid, use the modify clips command to turn off the unwanted audio tracks, and then relink the clips.

I’ve done this when there are way too many blank audio channels coming in from certain cameras or recorders.

Visually, i agree, it is a bit odd to mark an out at the end of the timeline, but from a realistic “working” standpoint, it has no effect on your ability to mark an in point here…play or scrub to another spot, and mark an out point. Not sure a “workaround” is really necessary.

my workflow has always been to add a marker at each change request point of the version of the timeline the changes are directed towards. In other words, you go through the entire change list, adding markers, before you do any of the changes. Then, duplicate the timeline (always do changes to a duplicate timeline) and your markers will remain…

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can you not resize and position the key item with in it’s own effect controls?

I think “Boston” has truly gotten to the root of the problem here. Very helpful.

Brie, is there no way to ban the bots that are filling all these forums?

Ok Cow moderators…its time to shut these bots down.

A few people are answering every single question…without actually saying anything. (Starting to sound like clients:))

I have been a user of Mimiq for about 5 years now, and yes to use it you need either Avid Ultimate, or a perpetual license to use bin sharing.

The original poster did not mention shared projects, just using network drives, and you do not need anything special for Avid to simply see a network drive.

If i turn off Mimiq, i simply lose the ability to…

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Just move it from the Avid MediaFiles/mxf/(guessing)1/ folder on the internal drive to the same location on the external drive. Relaunch Avid, so it can rescan and rebuild the database.

Check out your media creation settings. Pay attention to the tab asking about filtering drives based on resolution etc.

This question gets asked all the time, and the answer is the same. These are two competing companies, and neither on has developed a way for you to convert a project to their competitors.

If you want to “convert” the project, you will need to do it manually. Export aafs for every timeline.

rebuild your bin layout and folder structure inside Avid,…

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Not everybody has a thunderbolt connection…or a free thunderbolt connection…many pc users require usb.

Couple of things.

I typically use avid aaf output from caption maker to bring into Avid, so i’m not sure about any mxf options. (Is this video with embedded captions out of caption maker?)

Having said that, when you say it “looks” wrong, what are you using to judge this?

I find Avid’s ability to display the closed captions less than perfect.

I…

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My qnap is a bit older of an model. I’ve had it for about 4 or 5 years now.

It is a TVS 1282T3 I have the base station plus 2 expansion modules plugged into it. It has been rock solid since i got it. (Just waiting for a third expansion to show up)

I run 10 g from the base to my suite, which populates a 10g qnap switch, and feeds 3 computers. I…

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Google will find you lots of options for cabinets for your computer and hard drives. Just make sure it has adequate ventilation. Years ago our old DS was in a cabinet with a fan on the back to promote airflow. It cut the noise down incredibly well, but it also caused the drives to overheat as the design didn’t include a fan on the front to…

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