[Glenn Sakatch]

Is it a legit back to future clip from the studio, or something some ripped? If legit, I would start by redownloading, or requst they re-upload.

Either way, if it is causing multiple programs to crash, you have a corrupt clip…stop tearing your hair out and ask for a replacement.

[Glenn Sakatch]

Whaaaat ?

Right now I use the web presenter and zoom. Web presenter allows me to cut back and forth from sdi input and web cam, or in my case Bmpcc, as my kid stole my Webcam for university classes.

Job, you are saying this can be accomplished out of MC if I install the NDI plug in. (Which I usually dont)? Can you easily switch sources?

Doesn’t help with resolve, but most playbacks are for the edit, not the color.

[Glenn Sakatch]

I would be tempted to spend an hour or so and duplicate and breakup your timeline into layers.

Video only clips on V1

Audio only clips on A1

Sync audio and video on V2/A2.

don’t care about stereo or not for this…just a representation of each clips use.

Then make separate edls for each type.

Might not be the most elegant solution, but sometimes that turns out to be the easiest solution.

[Glenn Sakatch]

You cannot transcode your offline media to higher resolution media. You will need access to the original camera files before you can do anything.

As Shane said…your options are then to:

1 Reimport in Avid at highrrs, if the footage was imported in Avid at low res originally. (Highly doubtful in today’s workflows…but not unheard of)

2 duplicate your sequence and try relinking it to a bin filled with camera originals. (Search for relinking sequence to all selected clips in open bins)

3 send a list to resolve, and relink there to the camera originals.

It does depend on where the originals were made to a certain degree, however if they were done correctly in Resolve in the first place, you should be able to relink them in Avid directly, if you are doing colour and online in Avid. I actually typically do the relink in Avid, even if I’m sending to resolve, so my list is already pointing to cam originals when it comes into resolve.

If the camera originals don’t exist, then you are screwed either way.

[Glenn Sakatch]

I feel your pain. I bought the windows version in May, which turned out to be full of bugs. (Can’t properly span a tape being a major one)

Took forever to get through to support…finally did some research and deciphered Tims email address, and included him on a string, wondering what the heck was going on. Magically had a response from support the next day with a new beta build. (Coincidence… maybe) It still didn’t fix my problem, but did actually speak with support for about 3 days…that was about 2 or 3 weeks ago…haven’t heard back since. Boy am I glad I just dropped 500 Canadian down on this product. Luckily my bru Mac version is still going strong, although I’d like to retire the computer.

I also have preroll post, but I just don’t like how it operates as much as bru.

[Glenn Sakatch]

Bit of a sidebar, as i’m on PC, but i’m actually finding the “new” h264 outputs on my box to be waaaaay faster.

[Glenn Sakatch]

Very easy to test.
Set your timeliness picture quality to the lowest possible setting, and do an output or mix down.

View your output outside of Avid, and it should look fine.
Change your settings to high quality and view your mix down in Avid. It should look fine.

There are some plug-ins that do use that monitoring for their functions to analyze the shot, so you may have to flip back and forth on occasion.

Not sure about the internal processing, but I would be surprised if it was 32 bit. Guessing 10 or 12.

Glenn

[Glenn Sakatch]

Audio sync can become an issue when you try splitting the audio path from the video path

Glenn

[Glenn Sakatch]

Just a guess, but there is probably a setting…going to guess on the vortex node, where you can define frame clipping. It usually defaults to frame or something like that, you want it set to none. Not in front of the program, so that’s as close as I can get you.

Glenn

[Glenn Sakatch]

In the end, it turned out Resolve was reading the timecode with a 1 frame offset, which it appears can only be adjusted on a clip by clip basis. Obviously the tc being out by a frame could be a disaster when trying to relink to camera source files, as nothing will match. Both avid and tentacle syncs own software read the tcs properly, so I ended up using tentacle to assign the time code to new master files, then transcoded those in resolve. I like boukes software, but after converting the Euro to Canadian, it became less attractive than using notepad ++. Couldnt justify 500 dollars or so…
In the end editing the ALEs there, and then into Avid for relinks seems to work great.

Glenn