[Glenn Sakatch]

If you are re-using color from one clip to the next, and there is. Magic mask in that setup, you will get that message…even if you try to reuse a mask on the same clip later in the show, you will need to retract before outputting.

In resolve 20 the magic mask is good, but you have to be aware if it if trying to copy/paste nodes.

[Glenn Sakatch]

Is this a paid job? If so I would be asking for better files to start with. If it I just for fun…than you might just have to set it to go overnight, and check in the morning.

[Glenn Sakatch]

I’ve never had success with Avid’s insert methid. Other than paying a lot of money for the cinetools software, I find it much easier to just re-export. I do have a free program that will insert into a prores file, and I will use it in a pinch,but it takes less than the time for a cup of coffee to export a half hour broadcast show…not worth the cost for the other software. Unless I’m sitting on location, where the truck is waiting for a feed…I still have to upload the file, so the immediacy is usually not there in my world to justify the cost

[Glenn Sakatch]

I have only used the data track for closed captioning. You can add a .scc file to the data track, export the show to a few file types…xdcam .mxf is a common one…and you will have embedded captions in your file…but if you bring that file back in, and add it to a timeline, it will retain the data track, but if you start editing with it, the data will break.

You can’t..AFAIK, match frame a timeline clip to try to maintain the data track attached to that timeline.

We used to be able to use a hardware symphony box to edit the caption files to a small degree in the timeline, but that was all based around hardware and a tape workflow.

I don’t think what you are describing can be achieved.

[Glenn Sakatch]

clips with every timecode starting at 0:00:00:00 are notoriously bad to work with as well.

My workflow is to ensure all these lower end camera clips have unique names, and have shoot time of day timecode attached to the clips before any editing takes place. As Michael said Drone footage is a red flag immediately when it comes into the shop. As is Osmo and go pro clips. They all get checked for clip names, timecode, and framerate before getting worked with.

[Glenn Sakatch]

Yes a bit more information on what type/size of file you are trying to playout, and what the playout system is setup for. I’m assuming you are not creating a dcp for the cinema, but instead trying to play a quicktime? If it is a DCP, then what bit rate did you use to create the dcp. (Bigger isn’t always better)

[Glenn Sakatch]

I do transcodes out of Resolve all the time. I don’t usually transcode out of Avid, but I have. But no, i have never tried to transcode the same file at the same resolution out of both programs , and then switch back and forth.

Honestly, my first question is “why?” It sounds like you are trying to see how far you can go before you confuse the program.

Are you rebuilding the media database each time you try to do this? Are you removing one file and replacing it with the other. A bit more on your steps might help, as well, if you could post the files, i can take a look on my end.

[Glenn Sakatch]

I believe if you go into the combined view mode for script and text…can’t remember what it is called, select all the clips, and hit the “A” button, it will send all those clips to the start frame.

Then you can edit all your vfx the way you want it to work. Personally, i like using the position bar as a mark point about 90 percent of the time. The other 10 percent, i say “crap” under my breath, redo the edit and move on. I swear 20 years ago, the inpoint and outpoint were cleared on the record side after an edit was done. That doesn’t seem to happen anymore…that buggers me up more than anything else.

[Glenn Sakatch]

I woild just send the aaf from the timeline as is. There is no need to strip any effects off per say. If there is an effect they don’t have, it will come up on their end as an “unknown effect”, which will force them to find out (from the reference movie with tc burn you are also sending) what is happening at that section. The underlying clip will still be there.

As for an edl, i don’t use them too much anymore. There are lots of new templates that will allow way more audio and video tracks than what we used to be limited to, but same thing, i would just send an edl. Pretty sure when it encounters something it doesn’t understand, it will just move through to the next item.

One key would be to ensure you commit any multicam edits before making your lists. If you use multicam, and you don’t do this, the list will be trash on the other end.

[Glenn Sakatch]

Same answer…either key frame your colour change from 0 to 100 to 0 again…or whatever it needs in your situation, or you can keyframe the opacity of that particular node to turn it off when not needed.