[Glenn Sakatch]

As much as I love bru…I agree. I’ve started porting over to preroll post, which I already owned. I have to laugh when I realize my arcgest maintenence is going to expire in a couple of months…June I think…. I wonder if they will ask me to renew.

[Glenn Sakatch]

Take your mask, that you have already animated, and plug it into the footage you want it to cut out.

Comp that over your white bg.

Comp your text over that.

Not sure what your black is for…but hey, comp everything over that.

[Glenn Sakatch]

You don’t AMA to op1a files. As i said in my original post, there are plenty of topics around telling you how to use op1a files. They would probably work best for an older system.

Is your Resolve project set to 4k or HD? I would set everything to HD, set your scale settings to full frame crop, and output HD op1a’s…again, if your system can handle resolve.

You could also try some of the free encoders out there, like shutter encoder, but I don’t know that you will maintain your timecode.

[Glenn Sakatch]

I would see what version of Resolve you can get to run on your box. MC6 is so long ago, it would take some experimentation, but you should be able to use Resolve (free) to transcode, with proper timecode, to a better codec/format. Perhaps dnxhd, or mxf op1a, which is the same thing that Avid would create if you were to use the import function, or mxf opAtom, if MC6 can ama to those files in the first place. Im assuming Dnxhr would not work with MC6…but again, been a long time.

If you can get op1a’s created, there are plenty of tutorials around telling how to get them into the system.

[Glenn Sakatch]

Unfortunately, any solution you find will still be dependant on both you and your clients monitors matching each other, and that is almost impossible.

The best remote colour session involves you sending a set of drives and a calibrated monitor to your client, and doing a remote grade. Other than that you are guessing when they say “the blacks look crushed” and you are looking at a screen thinking “there is no way these blacks are crushed”

[Glenn Sakatch]

I dont do this anymore because of different setups, but in the past, I was using my 2 activations in 3 computers, and anytime I went to the “third” computer, it would ask me for a key, which I entered, and worked away…later, if I went to the “first” computer, I would again have to enter the key, as the activation on #3, automatically deactivated #1. Activating #1 was going to automatically deactivate #2. It was just a wheel of activations. I kept my activation key handy on each machine, and didn’t worry about deactivating anything. Not sure if it still works this way or not.

[Glenn Sakatch]

I always use the same procedure when relinking doesn’t work.

– where is the source file from? I’m guessing footage that doesn’t relink is often material created in adobe media encoder?

-what information does Avid have to try to do the relink? Tape or Tape ID column info? Timecode info? File name info? Avid doesn’t typically care if the files have been renamed inside Avids bins, as long as the metadata for the files is complete. This again usually comes down to the transcode process.

If the computer can’t do the relink, ask yourself what it is or is not seeing that is confusing it.

Often this comes down to timecode or clip name confusion/repetition.

In response to your mismatched Avid versions, it depends how mismatched they are. Avid has done a lot of changes in the last couple of years. I would be hesitant to mix a current version with a version from 2013, although it wouldn’t surprise me that the actual sequence opens. If you are doing no live linking for the edits, i would be less worried however about a version that is a couple of years out of date. Other functions in the timeline may not work however.

You mentioned multicam in your original post. Are you always committing multicam edits before trying to relink? Not doing this will certainly cause a clip to not relink.

In my experience, if the media is transcoded properly outside of Avid, or when possible, inside Avid, there are rarely relink issues.

MP4 sources, with the same starting timecodes and pesky names that are constantly repeating would be the first thing I would address before transcoding. (items that are named clip001 with a 0:00:00:00 timecode never make it into my system) They are renamed according to shoot date, and if necessary camera model, and shoot time of day timecode is added to the files through an external program. I find this issue to be one of the main reasons people have trouble relinking media, or having the wrong clip relinked.

I find very few file types won’t come into Avid anymore, but i do typically do my transcodes in Resolve because of the speed. Again, making sure timecode and tape name metadata is set up correctly.

If it was as common as a problem for me as you seem to be having, i would probably start charting which files are not relinking, and start tracing back their origin, and perhaps their use in the timeline.

It is true, I will get a clip or 2 that for what ever reason just won’t relink, and it is way faster to simply manually edit that shot back into the timeline, but I find those cases to be quite rare.

[Glenn Sakatch]

Many seem to think that no thought really needs to be put into a green screen shoot….to those people I say…”then you pull the keys”

[Glenn Sakatch]

Fusion studio used to come with Primate. I think it now ships with keylight? Pulling proper greenscreen in Fusion is not difficult once you know the workings of the program. Its masking capabilities and combining of Keyes will outshine most base plug-ins…plus with some practice and experimentation, you can build your own custom keyers.

[Glenn Sakatch]

Good to see the west coast has not changed you Joseph…another good line of wisdom there…Walk!