[Glenn Sakatch]

This is why i always keep my resolve transcode projects.

If you still have the one that was used to create the media, simply run it again, turning off the LUTs this time.

In Avid move your media offline by raising it up a level in the folder structure.

Move your newly created mxfs into its place. Avid should just continue on normally.

Once everything checks out, you can delete the original version of your 36 media.

If you need to do a relink instead, it should work pretty easily for you, as long as your media was created properly in Resolve (with proper reel names from the source name)

Glenn

[Glenn Sakatch]

I used to have very specific folders mapped as my storage locations on Resolve. If you map the generic “G” as a folder, than you can’t do subfolders as well, as it will tell you that it is already mapped, but you can do specific folders without the overall folder mapped. (or at least you could in V 10 and I think 11. I’ve since switched to just mapping the drive itself, as on Windows if you need to map a new folder, you have to relaunch the program before Resolve can see it.

Glenn

[Glenn Sakatch]

Try alt dragging the folder into an open bin in avid. You should get the little curved arrow icon before you release. This is another way of linking items in avid.

Glenn

[Glenn Sakatch]

what is mapped to your arrow left and right buttons?

Glenn

[Glenn Sakatch]

I think PE stands for Professional Edition, and comes with the paid Avid products. This would definitely include the encoder

LE is Light Edition, and is free for anyone to download. I know it contains the playback codecs, but I’m not sure it allows encoding.

Hard for me to tell, as all my boxes have Avid on them, so I have the PE vesions already.

I believe Davinci is licensing the DNX codec for encoding service, which is why it works on that software, but perhaps not with other software you have.

In the early days of the Blackmagic version, the DNX codec was one of the differences between the paid and lite versions of Resolve.

Glenn

[Glenn Sakatch]

definitely is lacking an Uber key function

Glenn

[Glenn Sakatch]

definitely deceptive, or a mistake. There list of features specifically says Resolve 12 Studio only.

Perhaps they need a new proof reader

Glenn

[Glenn Sakatch]

There are many who would disagree with me…not sure where they are right now 🙂

Again, i use sound houses for a lot of my final mixes, but if not possible for budget or other issues, an in box mix is not that hard.

Glenn

[Glenn Sakatch]

to clarify, by mixing it “Live” i’m simply referring to sitting at the mixer page and adjusting the levels. (you can do a live mix with a proper a audio board setup, or an Artist Control or Artist Mixer panel, but when i said “live” i meant in person, rather than dropping an effect on it and walking away.

Some people use the elastic band method of adjusting volumes…i never have done it that way. I simply razor up my audio tracks in the areas that are too loud, or too quiet, and adjust each section. I then dissolve between to smooth out the transitions.

As for a limiter at -10…i don’t use one. You should be able to keep the audio peaking at -10 or any other amount, using the method i described above. Yes it may go slightly higher every now and then, but as long as you don’t pin it, my experience tells me that it is good.

I discourage people from staring too hard at the VU meters. The needles are allowed to bounce around.
The audience at home doesn’t get to see the VU’s. If you try really hard to even out the peaks and valleys, it should work for you.

I once had a professor, when questioned about the fact that the vus got hot every now and then. He was asked if it was distorting. His response was simple and blunt. “Do you hear any &*^%! distortion?”

That being said, there are instances where you might have to really attack a section, but you should be able to do it without a compressor or a limiter.

There are also QC departments that can be really hard to please, but you are asking about the instances where it is a simpler project with a web delivery. Just mix it so it sounds good!

Glenn

[Glenn Sakatch]

I’m going to open a huge can of worms here, but here goes.

I don’t agree with the “need” to add compressors and limiters on audio.

Yes i try to send all my audio to a sound house.

When i work on the road in a live sports situation, we have to do our own mixing. This is for show opens, features bumpers etc. for major studios live sports programming. Occasionally we get to send it t sound as well, but for the most part there isn’t time in that environment.

To say compressing music and voice gives you a better mix, goes against everything i believe in. I like the way music sounds when it isn’t overly compressed. The files you are working with probably already have a ton of compression on them…why squeeze them any more?

Yes it makes it easier to avoid getting too hot in the mix, but that isn’t to say you cant do that with a bit of effort in the mixer as well.

Go through your piece with the voice solo’d and get his levels as equal as possible for the whole piece.

Turn on your music and ride the levels to the point where you are happy with the mix.

Turn on your fx and do the same thing.

I never use a compressor or a limiter in the mixes i do.

let the debate begin.:)

Glenn