[Glenn Sakatch]

first thing is usually to trash your database and let avid rebuild it

Glenn

[Glenn Sakatch]

There is no need to make an aaf.

Copy your media to a drive, and take it home with you.
Copy your project folder to that same drive.

At home, copy that project to the same location as the rest of your projects and open it.
(or open it as an external project)

Your media needs to be in an avid friendly location, so put it in an Avid Mediafiles/mxf/* folder, where * is a number of your choosing.

Launch Avid, let it rebuild its database, open the project and off you go.

Glenn

[Glenn Sakatch]

sorry if this becomes a double post, I replied yesterday, but it doesn’t seem to have made it through the system.

For this kind of workflow, i always put my MXF files in their own numbered folder, not in the “1” folder. This way, dragging the database will not double up the media from anything else in the folder. Usually i put them in their own folder, have avid build the database, then rename the folder to something like “project X media from Resolve” Once you change the folder name to include letters it becomes read only, so make sure Avid has built the database for that folder before renaming.

This method also helps keep projects clean, and easy to archive media if necessary.

As far as the naming convention, make sure the colorist does not have the “create unique names” checked inside resolve. This will add a bunch of extra characters to the mxf files coming out of resolve.

Glenn

[Glenn Sakatch]

won’t really fix your problem, but, can you import the resolve media at all? (drag the database file from your Avidmediafiles/mxf/1 folder directly into an empty bin. This will at least tell you if the media is being created properly by Resolve, or if he has an incorrect setting there.

If the media does come in, perhaps Avid will do a relink to that folder?

Glenn

[Glenn Sakatch]

what version of DS are you using, what transfer mode are you using.

Glenn

[Glenn Sakatch]

in 6.5 you should have a tab called email under settings.

If you don’t see it, check that your settings is set to show all settings, not just base or active.
(click the hamburger button , top left corner under the bins button, and next to the user button.

Glenn

[Glenn Sakatch]

I always recommend neat video for de-noise. I don’t think it works natively in avid, I have an after effecs version and a motion/fcp version. There is an ofx version, but I’ve had trouble getting it to work.

As far as cleaner images, it all starts with a clean,properly lit and exposed shoot. If you are having to push h.264 in the post process, it will fall apart.

Directors are always asking why its so noisy….I usually ask what kind of light setup they did.

Glenn

[Glenn Sakatch]

I think a lot of what you are describing as “tedious” is what many of us call editing. 🙂

You as for graphic workflows, you may want to consider reversing your process. Edit the video in Avid, output it as a full res quicktime, and bring that into After effects.

Within After effects you could create a pre comp that is the source file, and a master comp with the “light color correction” and the fades built onto it.

I would probably keep the titles as a final comp so they can all be saved out and archived for change purposes.

Then it would simply be a matter of using the first comp in the second comp, and the second comp in your
your graphics comp. render it out, and then change the source footage in the first comp, repeat the procedure.

Note that you can’t use this method (very easily) for a batch process, as i believe duplicating the comps will not give you the ability to have different base layers.

In other words, if you duplicate the final comp 6 times, and then try to change the base layer video in 1 of them, it will change all 6 automatically, so you can only do 1 video at a time with this method, but it gets rid of having to do all those pesky fade to blacks.

Glenn

[Glenn Sakatch]

is your footage Canon 5d? I wouldn’t try to AMA cut with that, i would transcode…maybe try dnx 36, edit and relink, and then transcode your final piece to HighRes.

These forums are filled with recommendation after recommendation of “transcode for your edit” and
“dont try to ama cut with h.264 footage.

Simple test…link to 1 group of shots, maybe 5 or 6 shots even, and transcode to actual media, then close all your other bins up, open a new sequence, and see if you can get the box to crash with the transcoded media.

If the transcodes fail on on some of the clips, this may indicate some corrupt source footage.

If it seems to transcode fine, but still crashes, you might need to re-install. I always question the fear of re-installing. People treat it like it kills their entire day to do so, when in reality it shouldn’t take more than 15 or 20 mins. I’d rather spend a quick 15 mins on a re-install to see if that fixes the problem, than struggle for hours with an obviously corrupt system.

Glenn

[Glenn Sakatch]

So it looks like you basically have two seperate 2tb drives for your main storage…both internal?

As i said earlier, stripe those toghether and your speed will increase, or start heading down the road of a Raid confing, with a proper Esata card, SAS card, or something along those lines. Individual drives are not really geared towards media recording and playback. As Juan said, those speeds look about right. I’ll bet your speed doubles if you stripe the drives together. Get rid of the 320, add another 2tb and create a 3 drive stipe, and i’ll bet it goes off the chart. Ofcourse in that scenario you have absolutely no
file protection. A decent Raid 5 config will net you closer to 200 mbs, an expensive Raid card even more.

Glenn