[Glenn Sakatch]

yes, probably renders.

You can open the media tool, search for all projects on that drive, and all media types, and then you should be able to track them down via the name, and the icon will tell you the file type.

Glenn

[Glenn Sakatch]

“Nothing fancy” and “depth of field and reacting to a light source” are two different concepts.

I do this all the time in Fusion, which you can use as a plug in inside Avid. But you will have to learn some basic 3d in Fusion first.

Glenn

[Glenn Sakatch]

If you want to take the high res down to low res, (and then back) you should transcode in either Avid or Resolve.
Resolve will work, but i always recommend you do a round trip test first to make sure your timecode and file names are set properly in Resolve.

Avid is really simple for this.

If your high res is a difficult format, or is a codec that won’t come in to Avid (or Resolve) then you may need to create new high quality files, which would become your new master files. You would then take these into avid for the low res transcode.

One example of me doing this workflow is when i am presented with files that are spread over several days of shooting, but all have the same file name and start timecode (0:00:00:00) That is a disaster waiting to happen when you try to relink at the online stage.

There are programs that will take these mp4 files, add a time stamp from the record time, and rewrap them as .mov files. At the same time many of these programs will allow you to rename the files- adding shoot day or something else into the mix – to help you differentiate the files when you go to online.

I always say…if you can’t look at two files on your desktop…inspect their name and timecode, and tell me which one belongs in the timeline based solely on that information…then how is your editing program supposed to know?
Your NLE can’t say “well it’s the wide shot I need” all it can say is I need a file called 01.mp4 at timecode 00:00:03:03, and i’m presenting it with 5 files that match that description…ofcourse it is confused.

Glenn

[Glenn Sakatch]

use a shared database setup. I jump back and forth all the time for renders, and outputs on the mac, with shows created on Windows.

Setting up your database properly will take some googleing, but the info is out there.

Glenn

[Glenn Sakatch]

Been a while since doing this in MC, but i would assume you are filling your key with the track above…which in v2, is black.

Glenn

[Glenn Sakatch]

can you put the new clip on a new track, and copy the effect from bottom to top track?

Glenn

[Glenn Sakatch]

Unless you are going full res, which it sounds like you can’t…then why bother?

“Client wants to work in UHD” why? Are you pulling a bunch of keys?…then you might want highest res possible.
If it is simply so you can say you did….well big whoop.

work in HD, transcode to something easy to work with.
uprez to UHD for final delivery. What does the client care what resolution the offline takes place in.

I’d much rather my editor work at a low res, have their box be efficient and snappy, and then give me the best quality outputs at the end than worry about what resolution they cut the offline in.

(Tell em its UHD and proceed :))

Glenn

[Glenn Sakatch]

If you are exporting dpx media to Fusion, you can select the clip, go to its properties and bypass the color transformation. If you render out to dpx, the saver will automatically add a reverse transformation, so check your saver and make sure it is turned off as well…or turn it back on for the source clip before rendering.

Glenn

[Glenn Sakatch]

This topic comes up all the time. Why should/would it be easy?

You have two competing companies, using two competing products, why would 1 company make it easy to move their information to the other companies edit system?

What would be easy is if Ford and Chrysler would allow me to use parts back and forth from my Mustang to my Challenger without worry…why can’t I do that? Why do they make it so hard?

Glenn

[Glenn Sakatch]

It’s not a cache issue… outputs are all set to ignore the cache. It does seem to be a flaw with the settings in the ofx plugin I’m using. Absolutely everthing else matches perfectly.

I’ve rebuilt the FX by hand, and everything looks correct.

For what it is worth, the dpx workflow is actually quite handy. Some of the looks in this show are brutal on the box to render out, and render flashes at the end of a 20 minute segment are not uncommon…or even 1 frame in the middle of the segment.

Rendering to quicktime means trying the render again…after discovering there was a flaw, hoping it will work this time, or rendering those flawed shots, and piece mealing the show back together from multiple render passes.

With DPX, you render once into a folder. If there is a flaw, you re-render that shot into the same folder, it over writes the flawed frames. (you can even tell it to just render the 1 bad frame)

in the meantime, there is another timeline with the dpx’s forming the program. This timeline is constantly updated with the current dpx renders. I can then use it for all the deliverable requests without fear of render issues…its just a downconverted dub at that point.

This workflow has actually saved me hours of render time in the creation of the 4k Master. If I had to completely re-render the 4k versions of these shows out evertime there was a render issue, I would probably be selling ties at Eatons by now. (Retro Canadian reference for those of you wondering)

Glenn

Glenn