[Glenn Sakatch]

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.

[Glenn Sakatch]

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.

[Glenn Sakatch]

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.

[Glenn Sakatch]

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 you can do a roundtrip workflow test from there.

I will also point out that i have done a few workflow videos between Avid and Resolve, including proxies and audio syncing, with a couple of “gotchas” that you have to be aware of.

https://www.youtube.com/watch?v=2flKWUgMJoI&t=9s

https://www.youtube.com/watch?v=201_Lh8SdIQ&t=10s

https://www.youtube.com/watch?v=s0jW9pEa760

[Glenn Sakatch]

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 clips have or have not reconformed to different media.

[Glenn Sakatch]

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.

[Glenn Sakatch]

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 dont think that will work, but a basic 3d warp effect should come across easily, as long as you turn on (use sizing information) when you bring in the list.

I’m not sure if resize or Pic in pic come across. I would just try as many different methods for both that you can find, and see which ones work. I rarely have issues.

[Glenn Sakatch]

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 few times. It is a bit pricy, but he does take you through actual projects, with actual footage. The last one was 5 days, for about 4 hours a day (Live), with the ability to watch a recording later. He does not sell these after the fact, they are only available to those that sign up for the live sessions. I’ve been colouring since 2000, and learned some great techniques from his course. We all have different ways of doing things, and it is nice to see someone else’s approach.

Far too many courses you will see on YT are based around single shots. “lets fix this shot…now here is a completely unrelated shot…lets put a look on it” These are typically useless for a day to day working colourist scenario. Look for courses that take you through a project from start to finish.

Preferably one that will let you use the footage for your reel afterwards.

Mixing light.com has some practice courses for sale as well, that you can show prospective clients what you did.

There is also some editing courses that will let you have access to the raw footage for the same purpose. I have some of these for practicum students I house, with the understanding that they are allowed to put the finished projects on their reels.

Look for editstock.com

[Glenn Sakatch]

It is called marketing.

Would you like fries with that as well?

[Glenn Sakatch]

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 sequence will still show the lut, even after you have removed it from the source shots. From memory, i think you right click on the sequence, and you should find an “update sequence” tab. Next to that are options you can update, including Update all, or update colour transforms…or something like that.