[Glenn Sakatch]

might want to window the dancers face to control him separate from the background. How much is he moving?

And yes, push the bg more.

Maybe blast the background and see if you can pull a key from the difference in that white bg and the dancer, than work on them individually.

Glenn

[Glenn Sakatch]

Are you saying your UI isn’t showing the controls for the power window? Thats a different problem than “nodes aren’t showing up in the viewer” I assumed you were saying the actual node tree wasn’t showing up.

for your UI controls, you have to turn them on. Not in front of the computer right now so i’m guessing at the acutual location …View/UI controls/on, off, or GUI only. guessing yours is set to off.

Glenn

[Glenn Sakatch]

sounds like you’ve minimized your node screen? or are you seeing the node screen, but nothing is appearing between the in and out bars.

Glenn

[Glenn Sakatch]

Yup, i only get it to work when feeding timecode along the XLR to the TC in on the back. I’ve tried with Avid and from a sony HDCam deck. Once i plugged the deck up with xlr timecode, everything worked.

Not sure about premiere, but Avid doesn’t send timecode through the SDI. Everyone has been blaming this for its not working properly with that device, but perhaps some of the blame needs to be shared by blackmagic.

Glenn

[Glenn Sakatch]

Is this the same shot, but with different color added to it in resolve? If so, resolve’s output will give you the same file name it did the first time. (if you output it to the same directory, i believe it will over right the original mxf) just tell resolve to use the source file name…assuming you did that the first time.

If it is a different shot, can we assume it has different timecode? If so, (its been a while but) even FCP would be unsure how to use this shot would it not? I would guess you would have to go in and adjust the shot anyway. Plus in FCP, would you not have to select each shot individually if they are named something different anyway?

Just thinking out loud here, but perhaps output a list from avid to Resolve. In resolve you can change the shots being used on the timeline using the conflict adjustment tool, or manually selecting shots and changing their source directory, or manually selecting shots and telling resolve to use a different shot from the media pool. Either way, you could swap the shots in resolve and output a new list for Avid to work with again. If it is pretty much every shot in the sequence, then you are looking at a lot of selecting and swapping out shots either way. Might as well just do a replace edit in Avid for each shot.

Glenn

[Glenn Sakatch]

What kind of footage are you working with? R3d’s are going to be a lot tougher than c300 or something like that.

Is it all in one central folder on the server or broken up by project/episode?

Are you bringing in media first, or having resolve look for media when the aaf is brought in?
(I usually bring in media first, but this would seem to be a time when looking only for specific footage is warranted)

Can the footage itself be subdivided so that Resolve isn’t trying to index 1 million clips at at time?
That is when i have these types of issues, too many sources in the Storage area Resolve is looking at. Rather than pointing it to the root of the Z drive, that may have multiple projects worth of footage on it, can you point it to a subfolder that only has footage for this episode?

When you say server, are we talking about a proper shared storage unit, or are we talking about a shared network location? Obviously your throughput is going to be key for this type of workflow.

Glenn

[Glenn Sakatch]

sounds silly, but make sure you haven’t switched over to stabalize.

Glenn

[Glenn Sakatch]

How long is a loaded question. How long does anything last? I have a panasonic LCD that is probably 6 or 7 years old and still looks great.

If you take care if it, turn it off at the end of the day, don’t leave still images sitting on it for hours at a time, and try to avoid dropping it on the floor it will last for many years. On a cost per year basis, you would be looking at less than 300 or 400 a year. If you are running a business, the 3000 dollar Flanders, running for 5 or so years isn’t a bad deal. Take care of it, use it for a secondary monitor after that, (cause the 100 inch 8K model has just come out) and the price just keeps dropping.

It certainly won’t die after a year…unless you drop it.

Glenn

[Glenn Sakatch]

I actually had a similar problem on my mac system a few weeks ago. running 7.03 (i think it was 03)
I could work fine for a while and then i lost my audio. a relaunch would fix the problem for a while. Eventually i just uninstalled and reinstalled the software. The reloaded version is working fine.

Glenn

[Glenn Sakatch]

You should be able to create a new node that controls the color of that light spill.
You could then do a few things.
Copy that node, go to each shot that needs it, create a new node at the same spot, and past in your clipboard node.

or

Create your color node for the spill
grab a still
delete everything but the spill color node
grab another still
reapply your original still to the shot

you now have a still with just the spill color settings, which you can append to any node in your project.

Glenn