[Glenn Sakatch]

I think we’ve all been hit by that at least once.

Glenn

[Glenn Sakatch]

Agreed, items like this are the reason Fusion is included.

If you really want to do it just in Resolve, and the idea of having to pop in and out of a compound clip is a hassel… too bad, welcome to the world of online ☺

I would suggest creating an overlay of your grid in Photoshop first might make that stage a bit easier. You could in theory create a separate overlay for each square, where only that square is keyable, then the movement you put underneath would be constrained to that picture only. do that for picture 1, and put into a compound clip called picture 1…repeat and rinse for the other pictures, using a different overlay for each one. Once you are happy with the individual movements, then you comp all those compound clips together. I’m not sure of the keying works properly with compound clips, so you might have to put a crop on the compound clips themselves to get your individual boxes back.

Either way, multilayer effects are always a bit cumbersome to build…again, welcome to the world of online.

I too would just do it in fusion. This shot took me about 6 mins.

Basic idea… each group of nodes is 1 of your boxes. The “group” is just what I used to create text on a coloured bg.
This would be your images. Each of those Images go into a transform for you to do your animated movement.
Each one of those transform nodes has a mask shape to limit the final picture to just be the size of the box you want to display at the end. Those mask shapes are created using the grid (which is the background and the 4 masks strung together at the end) I also used the individual mask shape for each number as a mask on the merge node that is used to combine these layers on top of each other. The merge node has two inputs…bg (yellow triangle) and fg (green triangle) as well as a mask input (purple triangle) As you build each item as it’s indivual box with masks and movement, you cascade them on top of each other with these merge tools, and then add your grid mask at the very end to overlay on top of all of the other layers. It looks complicated, but it is quite simple when you start breaking it down into the individual pieces. Nodes might look confusing at first, but just think of each section as a layer on a timeline, and each node as a tool or effect added to a clip on the timeline, with the merge dictating if that layer is on top (fg) or underneath (bg) of the other item plugged into the merge tool.

The *** is a background tool set to be transparent, and 1920 x 1080. This gives me something to merge the first layer to, as well as helps set my comp size, as well keeps me working on a transparent bg as I cut out the shapes.

Yes you might have to do some basic fusion tutorials, but it is well worth it to learn this program. Something like this is just the tip of the iceberg.

Glenn

[Glenn Sakatch]

Pat is correct…import is pretty rare for me these days. I imported a couple of animations the other day and couldn’t believe how long it took.)

In your workflow, don’t ingest the large file after the fact prior to your uprez, Link to that original media instead.
Relink your timeline to those linked clips, then transcode/consolidate that timeline. You will be left with high res (with or without handles) of your media, without all the excess. Keep the camera originals on your backup of choice, but you shouldn’t ever need to import hours and hours of raw media anymore.

If you’ve done the Resolve proxy route, you can do the same thing by exporting a list from Avid back to Resolve, and get Resolve to relink to the original files. Then do an Avid AAF roundtrip delivery, which will make Avid media of your timeline at what ever res you desire.

Open that list back in Avid, with the newly created media in your AvidMedia Files structure, and you should have a consolidated, high res timeline.

Glenn

[Glenn Sakatch]

sort your bin by duration. The chances of more than one unique clip having the exact same duration is pretty rare, unless you are dealing with importing masters from another project that are all a consistent level, or perhaps clip spanning where everything is a consistent length.

Once sorted, you should be able to start recognizing duplicated clips, and begin cleaning up.

Glenn

[Glenn Sakatch]

Another way would be to cut your subclps on a timeline, and then (hamburger menu) show clip colors in the timeline. Turn on purple for linked clips. Any clips in your timeline that are purple are linked.
I usually leave this turned on, as its a great reminder when/why things are slowing down.

Glenn

[Glenn Sakatch]

I’m assuming that licensing email is telling us there are some major changes under the hood…and the codes cant co-exist like they used to.

Glenn

[Glenn Sakatch]

If you are naming per the episode, then no Avid won’t be able to reindex anything. You folder needs to be in the proper structure for Avid to be able to write to it. In the shot above 265, 279 and 417 would be reindexed in a non shared storage situation…the ones with the edit suite name.01,.02 would be indexed if those are the actual names of the boxes, as seen on the network. If they are names you made up, then they wont work.

I’m not sure about the .01 folder…it might work.
The ‘s and spaces would worry me also, but I’m not a shared storage expert. Mine is pretty basic, with simple names for a reason…but AFAIK, you cant mix and match the two folder naming conventions and have Avid know what you want. If you are shared it uses the computer name.# as a folder. If not shared, it uses a number, with new files going to a 1 folder (usually)
6
You might want to simply import a file and see where avid puts it to begin with…that might help you narrow down the structure you need to use.

Glenn

[Glenn Sakatch]

Anyone that can chime in is going to want to know your OS level, and your MC version. There is first and foremost a compatibility matrix with Macs/Avid that may be your issue.

Glenn

[Glenn Sakatch]

screen shot of your setup please

Glenn

[Glenn Sakatch]

I haven’t used it, but I’ve always assumed in active audio tracks swithlch was ( as you originally said) was to include tracks that are physically on the timeline, but rendered inactive by way of the mute command or power switch.

The difference In the function of multicam video vs all audio tracks is possibly that in a milticam video scenario, you are essentially putting all the clips on the timeline e at once, you just are only viewing one at a time.

For me…I have a macro built that can match frame back to the original clip and cut more audio tracks onto the timeline very quickly…thus I can cut with bare audio, then add in all the other audio tracks by litterly hitting a macro button over and over again. It deselects all tracks in both record and source…match frames the clip in the timeline, patches the audio, records it to timeline tracks of my choosing,and advances to the next clip. I can re do the audio on a 20 min show in 5 mins easily, if my timeline is properly organized in the first place.

Glenn