[Glenn Sakatch]

I’m still confused by the question, and I’m thinking along the same lines as Peter.

What are you trying to play back from? Are you saying you want to plug a hard drive directly into an Uhd tv in a “smart Tv” type of scenario, from within the TV interface maneuver to the hard drive, and hit play?

Typically you put your file to a hard drive, and run it through a computer, hooked up, as Peter said, to the monior (or TV)with some sort of hardware. If the computer/hardware setup can play the file, it will display on what ever you are outputting too, with the assumption you are outputting a proper raster size/frame rate etc that the tv specs can playback. Starting in prores, or DNXHR should be irrelevant at this point.

If it is the above scenario, using a smart tv, then it would depend on the tv specs as to what file types it can play natively. I would be surprise that it could even do a ProRes natively, and would think it was more likely to playback MP4s.

Glenn

[Glenn Sakatch]

What frame rate shows up in avid when you ama the clips?
(in the bin display)

When you go to transcode, does it give you the warning that it is about to convert the footage?

Glenn

[Glenn Sakatch]

The recompressing is inevitable if you are going to disc.
Just output a nice, high quality video from Resolve and let your DVD program drop it down to what it needs. You are not losing quality, and you gain a master that can be reconverted to anything else you need.

Glenn

[Glenn Sakatch]

permissions issue? It is creating the aaf, but can’t save it to the location?

Maybe try a different destination. (how big is the file?) could be a cache issue as well, if it is huge.

If its a really big sequence, try breaking it in half or more, or reducing the size of your handles.

Glenn

[Glenn Sakatch]

I haven’t really thought about the transcode order before…is avid not doing them alphabetically.
If you sort your bin by name I would have thought you end up with a bunch of clips alternating between links and transcodes…until eventually there is nothing but link icons.

Glenn

[Glenn Sakatch]

I’m obviously not looking at this on your monitor, but based on the 4 grabs you’ve posted, i’d say you’ve done a hell of a job.

I’m looking at the red and white in the flag
the black in his jacket
the red in his tie (sure #2 is a bit dark…)
the candles in the bg

yes i see a bit of shift in the wood behind him, and on his face, but there is a point where you start obsessing.

As the colourist, you are staring intently at his face, and it has frustrated you, but the viewer doesn’t get that opportunity. They see it once, as an overall view.

The cuts must go from cu to ws to cu no? They aren’t jump cutting from wide shot to wideshot are they? I’m with Marc. The audience isn’t going to notice the problems as long as the shot changes.

I was expecting to see a little green man on screen.

Have you split screen between the faces and tried one final node to reduce the green on his face with a window?

Glenn

[Glenn Sakatch]

Don’t try to do this all in one node.

try this workflow.

You have the color you like…save that as a still

you now need to make all your later interviews match your initial interview before it had any correction added to it.

Go back to the shot you like, and remove all the correction from it.
save that as a still.

load up shot 2 and do a wipe between shot 1 and shot 2. Get shot 2 to match shot 1 (pre correction) You say the light is turning green, so try removing some green from shot 2. Get it balanced as best you can

when you think you are there, select your still from shot 1 coloured, and append it to the shot 2 node. Tweaking now takes place on the first node in that tree, or you could add another node, but it should be before your shot 1 appended nodes.

Glenn

[Glenn Sakatch]

to properly do it manually inside of Avid, you would still need some plugins. You can create your own scanline file in photoshop. You can bring in overlays of snow and distortion, but to do a nice job of compositing, you would want to use different transfer modes, and Avid doesn’t think we need those as a built in effect, so you are now looking at Sapphire or Boris, and as was pointed out, they have the bad tv effect anyway. Perhaps there is a free trial in your future.

Fusion could be a good solution for this as well.

Glenn

[Glenn Sakatch]

I’ll add that in my workflow I ensure the clip colour is turned on for AMA. (default is purple) This allows you to easily see what clips were found, and what clips were not found.

“Nothing better than a purple timeline”

Glenn

[Glenn Sakatch]

What you are missing is the idea that the original poster had his system crash during the transcode process, and his bin didn’t save with the clips labeled .new

The media had been created, but his bin isn’t showing him which files had or hadn’t been completed, due to avid shutting down before it could save.

The original question was how to figure out what media had been transcoded, even though the bin didn’t get populated.

Glenn