Glenn Sakatch
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if it helps, think of add edit as a razor blade tool.
Glenn
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As I look at it…I guess that would be the “repeat options” switch.
🙂
Glenn
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Interesting Job. I’m assuming your macro includes a “next edit” and a “repeat” function?
Basically the same as my G13 macro. I wonder if the G13 has a repeat function.
Glenn
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Sounds like an Avid issue then. If Resolve and premiere are always in sync. I don’t use a Nitris box, but maybe it isn’t capable of handling both outputs at once? Have you tried only 1 output to see it that is in sync? (either sdi or hdmi?)
Might be worth a post on the Avid forum.
Glenn
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Have you upgraded since episode 5?
I ask because someone on another forum got the same error code.Maybe try building your MxF output setting from scratch?
I personally haven’t output an MXF since my last upgrade.
You could in a crunch output a quicktime and bring that into avid.
If you need individual shots, you can load the aaf into avid and get it to divide up your quicktime.If you need handles, you can export individual quicktimes…that would be a bear to put back together in AVID.
Glenn
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have you made a timeline of just the clips you want to render?
Seems pretty simple to me. Make a timeline of your color graded clips, go to delivery page. At the top of the delivery page is a button for 1 file or individual clips.
Glenn
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I have a G13 programed for this exact purpose.
I usually cut without ambience, and then spend 5 mins putting it in once the cut is locked, so I had to streamline my workflow.
I have a macro programmed into the G13 that takes my position on the timeline, turns off all tracks, turns on V1, marks in to out, goes to in, match frames clip, selects the record side again, turns off all tracks, turns on Audio 1 and 2, selects the source side, turns off all tracks, turns on Audio 1 and 1, performs an edit. I have another that is set to write to Audio 3 and 4.
All this happens in the push of a button. I can basically sit with one hand on my mouse, and one on the G13 and go Click, Click down the timeline…pretty much as fast as I can move the blue bar.
Was well worth the 50 bucks or so I paid for the G13. Of course I use it for other things as well. Don’t know that I could run resolve without it either.
Glenn
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I would tend to agree with that statement for the edit suite or colour room. With all the super slo mo cameras out there, noise has become a daily struggle. They take so much light to shoot at that speed, that I am almost always pushing it in post. I’m not sure too many people would look at the playback in the field, and decide they need to relight because it looks noisy. Im many instances, “that’s what we could do” is the message. But for sure I would like a larger monitor for noise.
I have a 50 inch and a 30 inch in my suite. Even at that, if I suspect noise in the shot I get up and get closer to the monitor for inspection. Those 12 and 17s are too small for an edit suite. Besides, the client would pretty much have to sit on your lap.
Glenn
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Michael types faster than me !
Glenn
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Are the High res clips in proper Avid mediaFiles folders structures yet, or just available to use when you are ready for them?
If you hide the low res ama clips…did you keep things organized in your folder structure?, Avid should auto link to the higher resolution clips…assuming they are in a proper folder structure with a database.
If that doesn’t work for some reason, you can try to relink, and tell avid to use only the highest resolution clips.
If that doesn’t work, put the high res clips in their own folder, get a database built for them, drag that database to a new bin.
Select all clips in that bin, right click on your sequence, and relink to all selected clips in open bins.You might have to play with some of the options for which column to use, but it should work.
Glenn