[Glenn Sakatch]

Usually your mixed frame rate comes into Avid with no issues at all.

How long was your timeline, and what format were you trying to export it as….just stereo audio?

[Glenn Sakatch]

There is nothing wrong with ama, or linking as it is now called in Avid. Ive used links for feature length films with no issue. To troubleshoot your issue, go back to your linked sequence, and only output a section from each clip. Avid is actually really good at letting you divide up you export or playback to narrow down where your issue might be. Im guessing at least one of those small exports will fail, and that can help you narrow your focus to that file, to see what might be different about it.

Another easy “fix” if you think it is an audio issue is to have Avid convert the sample rate, format and bit rate for all audio properties on export.

[Glenn Sakatch]

Just took a look at this, and had no issue pipping a window into different nodes…serial, layer, no issues at all.

[Glenn Sakatch]

I can usually go up to half an hour with braw before my box crashes. I’m just started transcoding. it.

[Glenn Sakatch]

There is no perfect mathamatical formula. Most times i’m asked to punch in on a 4k or higher shot, I can start to tell fairly quickly that the focus isn’t perfectly sharp, so i try to do it as little as possible. When i hear the DOP or Director make the promise of punchins, I remind them that they will see quite quickly a soft focus issue when they do a punch in. Much less of an issue with scenics, but I can usually spot an interview with a punch in pretty easily.

And ofcourse you also must remind them, and yourself, if they ever want to deliver at 4k, they are no longer puching in, but blowing up the shot. Most broadcasters and delivery options i’m supplying are asking for 4k, not 2k.

[Glenn Sakatch]

I’ve always treated it like this.

Put however many frames of black that you want at the head of your show….now step through the frames, and watch your waveform.

Black…black…black…black…first frame.

How do you know its the first frame?…because the waveform started to change.

In most broadcast outputs, im still putting slate and black before the first frame anyway, but the first frame is at 1 hour straight up, not 1 hour and 1 frame.

I’m sure someone will state otherwise, but I’ve never had a show sent back because it was 1 frame short.

Of course next you will be wondering about the end of the show…does it end on the last frame of picture, or the first frame if full black…assuming you do a fade out.

[Glenn Sakatch]

For the original question.

Go into trim mode, the click on your record monitor, or your source monitor, or in-between them. This will rotate you through the base trims.

Note how your sync locks are turned on and off, as this will affect which tracks you trim.

Then select a clip on your timeline, and the enter trim mode. This will give you another option on trimming.

Once you get the basics down, then start playing with all the other options listed above.

[Glenn Sakatch]

I haven’t received a FCPX timeline for a couple of years now, but that one did have multicam, and I had to send it back to the editor and have him commit the multicam edits, or flatten them, or what ever fcpx called it. He said “oh, i forgot about that”, did it, sent it back, and everything pretty much worked as expected. There are always gotchas going to and from programs….very rarely will timelines come in perfectly, but i always say, if the list comes in 85 to 90 per cent correct, i’m usually pretty happy.

[Glenn Sakatch]

You shouldn’t have to delete and install any media when it goes offline either.

Organize your files into bins. If it goes offline, you should be able to select the bin and tell Resolve to relink that bin, or change the source directory for that footage. Pointing it to the folder with the footage, should bring it all back online again.

As Michael stated, i fear this is more a system issue than a Resolve issue. Does it go offline while you are working, or after a relaunch? Do you have your media drives mapped to the same drive letter each time? Are the drives listed in Resolves media storage area under preferences?

You haven’t stated any specs for your system, or anything specific about your workflow but, personally, it is very rare for me to have media go offline that is in fact still in it’s original location. Can’t tell you the last time it happened actually.

[Glenn Sakatch]

very strange, unless i’m misunderstanding your setup, the two devices shouldn’t have anything to do with each other.

My webpresenter is fed by a sdi distribution amp, fed from a BM card in the box. Avid really has nothing to do with it, except feeding the internal signal into the BM card. How are you wired up for video output?