Glenn Sakatch
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There used to be something about Macs and Avid and the default monitor layout being backwards. (i’m mostly on PC now, so my memory is a bit foggy)
I think you have to go to system preferences, display, and you can swap the orientation of the monitors around. I think you can physically drag the monitor icons from left to right to change how the computer sees them?
As for the resolution, I know you’ve said you have used these for a while, but it simply sounds like your second monitor doesn’t support 1920 x 1080? Again, perhaps something in system prefs might help.
Glenn
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turn off your handles option in your delivery page…or perhaps you are outputting handles from FCP in the initial stage?
Glenn
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I am not a Vegas user, so this is a more generic answer.
The workflow you are looking for would be to export an xml, aaf, or edl out of vegas..which ever it can do.
You can then load that into resolve, and point resolve to the location of your original media files. Resolve will then rebuild the edit, as best as it can into a resolve timeline.
From there you can either output your final project, or output a colour version of the show, back to Vegas for finishing.
Your second option is to bring in the final quicktime you already have, and run a scene detect on it. This will also give you individual clips on the timeline, but will not allow you to do any shot tweaks. (no trimming or adding dissolve)
Glenn
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Just to add to this Nathalie, dissolves are commonly used when you are working with the original edits that made up the sequence…not a baked in quicktime movie.
You have to look at your footage and ask yourself, what frames are available for the computer to build the dissolve with. On a baked in quicktime movie, there are no extra frames.
As Ricky pointed out, there are some work arounds you could try, but the effect you are looking for really needs the original edits in place.
Glenn
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It is the same process as a normal relink- where you want to take something from low res to high res, or low res to ama link.
I recently did this with a 3 hour doc that was using around 70 tb of footage..spread out over 3 pegasys drives, and originally cut on a mac system. I needed to uprez it and transfer to resolve on my pc system. I was not fun, but doable.
Use the “alt” drag to bin for quicker ama linking in this situation.
Make a new bin called May 4 amas…or something similar.
open an explorer window and alt drag the folders you want over to that bin. If you have tons of footage…as I did, I found at a certain point that the bin was just getting too big, and I would then start another bin.The problem comes up when the system starts doing an auto save, and these huge ama bins take forever to save. If you can do any kind of selective ama-ing, it will save you time in the end.
Once that was all done, it was a matter of relinking. Select all your ama clips, and right click on your sequence- selecting the relink to all selected clips in open bins option.
Glenn
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There are several posts in this forum that explain the process.
as a quick review:make a bin, and put your ama links in that bin
select all the clips in that bin
right click on your sequence and select relink
you are looking for the option to relink to all selected clips in open bins. You may have to play with some of the other settings after that to get the relink to work.
Glenn
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If you go to do a batch import, Avid should ask you to locate the files if the path doesn’t exist anymore. Select them all, and hit the set file location button. Once you id one files location, I believe Avid will find the rest of the files.
If the files were originally AMA’d ,then as John says, just re-ama them. If your AMA’s were spread out over several bins, you can make a single bin called re_Ama or something like that, and ama everything into that bin. The other amas should update at that point.
Use the “alt” drag to bin for quicker ama linking in this situation.
Glenn
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I agree with Marc.
Plus, the only criticism I’m really interested in is my clients.
They might want a washed out, faded,look, and someone else thinks it should have a vibrant contrasty look, I’m probably going with the guy who is paying the bills.
Glenn
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It sounds like your ama key is working, you just have to invert it.
If you are seeing footage through the text, instead of around the text, which is what I’m getting from your comment.
Call up your keyer properties and invert the alpha.
Glenn
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