[Glenn Sakatch]

This is the whole idea of the Avid round trip method inside Resolve.

If you send the colourist an aaf, and they link to camera originals, color, and do an export using the avid aaf roundtrip preset, then they should be able to provide you with a set of shots, coloured, plus an aaf that you can load back into avid, and you should have a timeline that looks exactly like what they sent you, but with colour added.
(you place the media they send back into your avid mediafiles folder, and get avid to build a database for it.)

Any colour effects you did in Avid will have to be removed, as they would now be added to the colour that he/she did.
Any speed effects you did should be in place as the Resolve “individual clips” output does not render time warps, but the original length of the shot-pre timewarp. The aaf they provided back retains the original timewarp information, and passes it through to your timeline.
Any resizing your did in Avid should also be retained on the new aaf timeline, as long as they did use size changes when importing the list. If they did, you may need to remove those effects. (been a while since i did this workflow)

Glenn

[Glenn Sakatch]

One of the keys to any conversion is the ability to retain Timecode.
If you are going to pass off the footage to someone else, or they might want to go back to original footage for online/colour grading, then you want to make sure your conversion program keeps the proper timecode.

If you are going to convert to high quality footage, and essentially start calling these new clips your “camera originals” then it doesn’t really matter. Personally I never use this path…but that’s how i operate.

Programs like Mpeg stream clip can do the conversion, but will not retain timecode.

If you have Avid, then you may want to look at the transcode function. This is how a large portion of the professional company’s will do the conversion.

Resolve (even the free version) will do the same thing, and usually quite a bit faster. You do however have to test your workflow with Resolve to ensure your project is set correctly to retain timecode and proper clip names, in case you want to go back to camera originals. There are plenty of posts in the forum about using resolve to create media for Avid.

Glenn

[Glenn Sakatch]

I’m not sure what either method is going to do to solve your problem. You have a render issue on 1 particular clip. At some point, Resolve is going to need to render out that shot….whether you try to send it as an individual clip to premiere, or the entire movie – as a master out of Resolve, or a color timed master back to Premiere.

Before you go too far down any road of new lists…you need to figure out why Resolve can’t render that clip.

Have you tried slowing your render speed down for that particular clip?
What else is going on with that clip that is stopping it from outputting?
Can you cache it for playback within Resolve?

It seems to me you need to solve this issue first.

Glenn

[Glenn Sakatch]

I still think Duke and Tero should do a podcast together. I’d subscribe.

Glenn

[Glenn Sakatch]

your original screen shot showed the paint node going into the mask input on your tracker, that is why you couldn’t see anything, you were using the paint stroke as a mask source.

Your second screen shot shows the paint node going into the fg input on your tracker…thus you see the paint node.

One of the first things you need to learn in fusion is the color codes of the inputs.
Orange=BG
greenish=FG
Blue=masking

other nodes will have white or pink or some other colors as well…depends on the node. Hover you mouse over the triangle and it should tell you the purpose.

Glenn

[Glenn Sakatch]

One of the reasons i still offline in Avid. I hear nothing but complaints about the resolve aaf to sound workflow.

I haven’t tried syncing audio in Resolve for years, but when I did it then, i discovered it wasn’t linking back to the original waves when the list was created, so that ended that experiment. Not sure if that has changed or not, but that sounds like one of the issues you are having as well.

If you want the sound house to have the entire take, which they often ask for, why not just send them your original wave files? The sound houses i deal with will quite often just ask for all the original audio files. Gives them options on takes that weren’t used, and timecodes should match your aaf files. That should give them everything they need.

Glenn

[Glenn Sakatch]

create a new bin, put new links to your media in that new bin. This should update your original links, and you could then safely delete this new bin.

your screen shot only shows some subclips and sequences, non of the master clips, so we are assuming you did indeed link to the original source material. (You stated at the onset that you didn’t really understand Avid, so we are assuming your understanding of linking media is correct.) If you are using linked media, you can’t just hit the relink tab in avid and have it relink all your linked media. That isn’t how it works…although that would be wonderful.

That relink tab is essentially to relink databases to their media.
If you right click on a linked item you may get the option to relink to files, depending on the media type.

I find simply creating new links is the easiest way to kick start the system.

Glenn

[Glenn Sakatch]

Sounds more like you are having a permissions issue than anything else.

You are saying the attic is “full” and can’t replace with current save?

Are you on shared storage with shared attic?

Not sure this has much to do with the original posters question. That sounds like an internal issue, not an Avid issue, or we would be hearing about it from a lot more people.

Glenn

[Glenn Sakatch]

Sounds like you need an expression guru…which I am not. I’m not sure if an expression can be linked to the timeline timecode, but I’d guess you would need to build all your text elements…merge the all together, and then try to do an expression to trigger the merge blend from 0 to 100 at a specific time…thus turning on and off individual text nodes.

But if your timecodes are that specific, why not just program in the lengths of each nodes duration?

Sometimes a simpler solution may trump a more technically elegant solution.

Glenn

[Glenn Sakatch]

This may be a flaw of running fusion from within Resolve. With Resolve running as well it may be draining your system.

I only use stand alone fusion…but I’ve never had memory error issues. If I run it on my laptop…which is a z-book…but its 6 years old…the renders might be slower, but I don’t think I’ve ever seen GPU full.

Maybe try the free fusion version and see if the issue persists.

Glenn