[Glenn Sakatch]

Mine works the same as Shanes. IO card to faders on a Yamaha mixer, system sound to faders on the Yamaha mixer, from the PC output jack. The two are independant.

If you are using Avid through the system sound, i would assume it would take over control and not relinquish it until you exit Avid, or turn off the hardware tool on the timeline. (if that works with system hardware). This is how it works on an I/O box. Once Avid takes control, if i play a quicktime out through Switch, i get no audio or video on my output card until I turn off Avid.

Glenn

[Glenn Sakatch]

Unless something has changed, Resolve has always required a Blackmagic I/O device, and that would include audio recording. I don’t think a USB microphone will work, unless you can plug it into an external card from BM like the intensity…and even then I’m not sure how it would work…. never used one, but audio only recording has always been a bit of a touchy subject with Resolve. Used to be we had to have a video signal going into the box, even if we only wanted to record audio. I’m assuming this will change for Fairlight, but not sure if it has yet or not.

Glenn

[Glenn Sakatch]

Don’t forget, when you look at these in Resolve, it is also making an assumption on video levels, as is Avid.
So just because they don’t look the same, doesn’t mean Avid did something wrong, or Resolve did something wrong, it could simply be that Resolve in interpreting them incorrectly. It defaults to Auto for the interpretation, which I find to be wrong about 50 percent of the time. I would guess a tiff sequence probably needs to be set to full data levels in Resolve in the clip attributes.

Glenn

[Glenn Sakatch]

Does the media in the bins have a little link or chain like icon next to it? This will tell you if the clips are ama linked or not.

If not, then follow John’s advice above.

If they were linked, then you simply need to go to create a new bin, create new ama links for the footage, and your original links should come back online.

Glenn

[Glenn Sakatch]

Sounds to me like it would be a heck of a lot easier to just let the program run the way it wants to run. Install it in the default location and use the plugin.

Glenn

[Glenn Sakatch]

I’m assuming you haven’t built your timeline yet? Otherwise, you would have to re-edit every shot again, if all you do is move the In and Out point. If that is what you want to do, it would be a pretty simple macro to build, assuming you are moving either the in or the outs by the same number for each clip.

Macro would simply record the following keystrokes.
-go to in
– minus 5
-mark in
go to out
-plus 6
mark out

Glenn

[Glenn Sakatch]

rather than doing your little zoom adjustment on each clip, do a timeline clip or output node with a resize zoom of the same amount. (the zoom is the overscan) There is nothing wrong with your current fix, but there is an easier way to do the adjustment if it is universally needed across your entire timeline.

Depending on your footage, you might be able to set your preferences/scaling control to be “full frame with crop”, which would fix the shots on input, rather than output…again depending on the origin of the issue.

Glenn

[Glenn Sakatch]

I wonder if these are keyable graphics?
Perhaps his setttings for the key channel are different from yours?

Try deleting the media you have created, then,
If you get the bin that he imported the graphics into, and open it on your end, you should be able to do a batch re-import, and the point the box to your version of the prores original. I would think this would allow Avid to mimic the media on both boxes.

Glenn

[Glenn Sakatch]

Thanks Bob

Glenn

[Glenn Sakatch]

you can also select the tool button instead of image and right click on the “color image” tab, and connect to an existing tool within your flow. (limited to what tools you can use)

Glenn