[Glenn Sakatch]

Pre roll post has a windows verion.

[Glenn Sakatch]

unfortunately OWC’s Argest is just as buggy as Tollis’ Argest, and no where near as stable as BRU was.

I have old tollis installers for bru and their last Argest version kicking around somewhere but i would suggest looking into virtualizing an old mac setup and trying to get BRU running on that.

Did you try manually creating the Argest folder.

On mac, mine is Library/Application support/ArGest Backup with subfolders for tapes and catalogs. Makes a great case for creating the rosetta stones when doing archives for clients.

It doesn’t surprise me the tape import tool doesn’t work. I had to manually copy my catalogs and tapes across when i switched from Tollis bru to tollis Argest, and from what i see in the bugs, OWC has done very little in the year they have had access to the code.

If the client is desperate, and old mac on EBay might also be the solution… or a rental unit.

I’m sure they are around somewhere.

I’d say ship the tape over, but that would take quite a while. Perhaps a callout in your local area for other users.

[Glenn Sakatch]

If you specifically need to work in curves, then maybe try razoring up you clip at each point you want to do a keyframe. Do a different curve on each individual clip, and dissolve between them.

[Glenn Sakatch]

What if you aaf export one sequence.

The duplicate your other sequence…take all your media offline…and relink that sequence back to your newly created affiliate media.

Anything still offline is the difference in the two shows.

Put those clips on their own track, and copy those to their own timeline. Relink it back to your original media…aaf that timeline.

You should now have two aaf folders with media to populate both timelines, and no duplicates.

Relink both timelines to that media and ship it all off.

[Glenn Sakatch]

I would guess the Ama side of that error refers to the RED footage. Might be a memory issue.

Try a small section …do a video mix down without subs enabled…the use that mix down as your source video file. Turn off the red layer…turn on the sub layer…what happens?

[Glenn Sakatch]

how much do you want to spend?

A lot of cloud based archive systems look not too bad until you go to restore something and the restore cost kicks in. (check the fine print before signing up)

[Glenn Sakatch]

Don’t take this the wrong way, but taking a DIT job and then asking how to do it is a bit sketchy.

There is more to this job than syncing audio to video and sending to the editor.

You are in charge of a huge amount of workflow and technical specs that can make or break the entire post process.

Questions you need to ask:

What are you editing on?

How much footage should I expect every day?

What is the backup/archive plan?

Who is providing the gear? (you or them)

Who is providing the storage? (you or them)

How many cameras are being used?

Are they all the same type?

What raster are they shooting?

What raster are they editing?

What resolution are they editing?

Are all cameras shooting the same frame rate?

Are you building luts or being supplied luts from the DOP?

Are they syncing timecode between cameras

Are they syncing timecode from audio?

How quickly are they expecting turn around?

Be advised, transcoding in Resolve for a different edit program, and eventual Protools sound path is very doable, but also 1 wrong setting, and your entire post process will blow up.

Syncing audio in Resolve is rather painless, but again, if you need to exchange metadata with the sound house, it becomes a bit more difficult, as Resolve kinda throws out the audio meta data when you do the sync. (It can be retrieved, but you have to know how to do it.)

And finally, and entire pipeline test should be done before you start the actual shoot.

Camera/lens tests, transcode audio sync tests, send to edit suite, send to colour, uprez, send to sound, relink to original audio files. Make sure everything works now, because if you wait, you will look like an idiot in the end when it all falls apart.

[Glenn Sakatch]

You’ve listed your boot drive, but not your main storage. What are you running footage off of?

Are you using it for cache as well, or the boot drive? I agree with Tom…that boot drive is too small. Not just for resolve cache, but many windows temp files..can’t imagine its not already full.

[Glenn Sakatch]

Mocha stand alone will export tracking data to several programs, including fusion. Not sure if it does Nuke as well, but if that is where your tracking started, ask the person who did it to look into it. I don’t use the plug in version at all, so i’m not sure if you can save the project as a mocha project, then open it in stand alone mocha and do an export.

Even copying and pasting that node into a txt document might give you the tracking information you need?

[Glenn Sakatch]

If it didn’t work this way, then someone would complain…”i’ve put my marker at a particular tc position, and now it moves around everytime i do a trim!”

If you want to mark a clip, and have it stay with that clip, put the marker on a clip.

If you want to mark a particular timecode for an event. (This is where my show must end, I need a commercial break around this far into a show) then use a timecode marker.

You have the best of both worlds here, you just used the wrong method for what you want to accomplish.