[Glenn Sakatch]

MC might not be the best way to try to do this, but the basic idea is there and do-able.

Is your PNG keyable? Can you put it on V2 with footage on V1, and see both items?

If so, click on the key settings and try inverting the key. See what that does for you.

From there, it depends what you want to do. If you want to key that comp over some other footage, then you will need to do some playing to get that clip with the footage in it…to then have its own key channel.

Again, this is do-able in MC, but i would much sooner jump to Fusion or AE to do these kind of graphic jobs.
In MC, you will want to learn about matte keys, and how to bring in external mattes. Maybe some mixdowns to create your intermediate renders. You will not be able to play with transfer modes, unless you have some plugin kits, but i’m assuming if you are a beginner, you are dealing with the basic Avid setup and not using plugins.

Glenn

[Glenn Sakatch]

My first question is what information does avid show for the dnx version of the media. Clip name, reel name/id and timecode.

Then concentrate on 1 clip. Find the first clip in the show on the USB drive. Link to that clip. Look at it’s related metadata, and decide what is missing, or different that is stopping Avid from relinking.

Reel information incorrectly logged during the transcode is a big issue, as is timecode framerate conversion.
If the timecodes don’t match, you are in trouble, and may have to start creating a second timecode column, and entering some manual information to help the relink process.

If it is a naming reel information issue, you may be able to duplicate the correct information to a different column, and relink using that column.

If you can’t select that sequence, and that 1 clip, and do a relink based on selected clips on open bins, you must figure out what is different. There isn’t much need to fight with 1000 clips over 12 drives, if you can’t do a single clip.

Start small and work your way out.

Glenn

[Glenn Sakatch]

This has nothing to do with the program you use. It is basic math.

If your timeline clip starts at the beginning of the actual clip, and you are trying to center a transition on it, there is no material for the program (any program) to use. You would need to trim the material to the point where there is leading material to allow the transition, or change the transition from center to start…but then you need to make sure your outgoing shot has enough unused material to allow the length of the requested transition.

Avid will tell you the transition you are trying to do can’t be achieved because of a lack of material. Not sure if Resolve does this or not, and perhaps it should, but in the end you would still need to do some trimming or slipping and sliding to make the requested material available.

Glenn

[Glenn Sakatch]

I might be missing something. Are you saying in Premiere you are making a multicam clip, and showing both clips at once on the final timeline? Typically i think of multicam as having both clips at your disposal, but only seeing one at a time in the final timeline. (I don’t work in Premiere, so i might be missing something here)

Could you simply lay the two shots out on a continuous timeline, on top of each other, and do all your editing with ripple turned on so your edits affect both video tracks at once.
Once done, add your crop effect to the scoreboard shots and output.

for a multicam approach, you might want to multicam the clips, dont do any cropping or anything yet, just do your edit looking at the main camera. When that is done, duplicate the clips, move them up one track, and set everything on that track to be the scoreboard camera. Then, when you are happy with the main camera edit, you simply add your crop/resize effect to the video on track two, and render out the movie.

Glenn

[Glenn Sakatch]

A lesson for ever editor and assistant editor out there.

When you bring in the camera originals, and you see a whole bunch of the same clip names and or the same timecodes….STOP… and think about how the computer is going to differentiate all these clips in a reconform process.

I always say to assistants that i use. “If you can’t tell the difference between these clips, simply by looking at the file name and the timecode…how is the computer supposed to tell the difference?”

I, (like Marc is suggesting) immediatley convert the footage to something easier to work with, or re-wrap them with Bouke’s mp4-qt product, assigning shoot time as timecode, and dates added to the clip names.

THEN you can start organizing and editing.

Not to point fingers, or lay blame, but there is another post in the Avid forum where the editor says they totally finished editing a 30 minute show before they realized all the clips had the name “untitled”. That should be the first thing you notice!

Glenn

[Glenn Sakatch]

Have you tried interpreting the re-imported shot at video levels? It is possible Resolve is seeing the 444 flag and assuming data, not video levels when you bring the shot back in.

Glenn

[Glenn Sakatch]

Fusions tracker should offer all the tools needed to stabalize and then un-stabalize the shot.

After you track it, go to your operations tab and turn on stabilize. ( BG only?)

Do what every effect you are trying to achieve….take that node and plug it into both inputs on a copy of your original tracker. Set it to FG only, and you should have your original motion back.

You may need a transform after that to reposition the shot to fill the screen again.

Glenn

[Glenn Sakatch]

I agree with Shane. Ask a group of Adobe users how many of them would prefer a perpetual license. I’ll bet a lot would raise their hand.

I still have CS6 on a laptop and will never give it up…as it is the best/cheapest way for me to use Photoshop, encoder and illustrator without paying their monthly fees.

For Avid, I have two dongles with the same idea as Pat. One has symphony. I also have the script sync and phrase find options that can float between the two.

I did think the same thing when everything changed last year…”It looks like the subscription is cheaper than the maintenance” I guess they would like us to switch, to subscription but if we don’t want to, we pay a small premium.

Glenn

[Glenn Sakatch]

I haven’t upgraded past 2018.5, but typically if I select a bin of offline links, and select the “relink to files” tab, yes it only asks for 1 file, but it will relink to all files in that folder If they are present in the bin as well.

I think your screenshot might be from an earlier version, as I do seem to recall around V7 having the same complaint…but you can now relink to multiple clips at once.

1 caveat. Sometimes the “relink to files’ option is available, sometimes it isn’t. I have not been able to figure out why that is (or isn’t) the case.

Glenn

[Glenn Sakatch]

I’m guessing you are adding the ofx effect as a timeline node, not a clip node.

The clip nodes should show up in a new timeline if the original timeline is used as a source.
A timeline color node will not.

Glenn