[Glenn Sakatch]

is there a reason you aren’t just using resolves burn in tool for all of this?

Adding a png keyable item just to add a box seems like a waste of processor power to me, especially when the burn in tool allows quite a bit of flexabilty with these items. You have individual clip burn in as well as timeline burn in, inclusing custom tabs where you can type what ever you want and have it burnt in.

As for your delivery problem, are you set to deliver individual items, or “single clip”. That will affect what is or isn’t seen on output.

If you are getting timecode from the wrong track, or the name from the wrong track, then you probably need to go to the clip tab within the burn tool, select the proper clip, and hopefully that will tell Resolve which layer you are wanting.
But again, i think the png is unnecesary. Just adjust the opacity of your overall burn inside the burn tool, this will drop the box and text opacity down, but will still be totally legible for the sound engineer. You can then just leave your burn tool looking at the overall timeline, and will probably get a faster render.

Glenn

[Glenn Sakatch]

I think you have probably found a bug with regards to saver node in that workflow. ( I have found it quite buggy on the Avid side since blackmagic took over from Eyeon)

The party line is probably that officially, yes, the fusion connect plug in is an avx plug in for Avid Media Composer. It is a separate download, and if you launce avid, you will not see the connect ability until you install the plugin.

If you haven’t installed the plug in, and launch Resolve, you should still see the ability to “connect” to fusion, but I’m sure there is some programmer somewhere saying “yes, but you are not using the connect plug in for that”.

Glenn

[Glenn Sakatch]

I’m assuming your answer is because each node has its own set of undo commands?

Glenn

[Glenn Sakatch]

Sorry, not sure of the issue here.

You are trying to add frame flex to a copy of the 4k clip to get it to match the HD clip? Is that correct?

And you are worried because… I’m not sure why you are worried. If at some point in the process you want to change the frame flex settings, then feel free to change them. There is a right click option to update the sequence afterwards.

Have you tried simply changing your source settings on the clip to a letterbox setting, or one of the other options to force it to fill the screen properly?

Glenn

[Glenn Sakatch]

I don’t think you can do it quite as easy as replacing the clip with the alt drag.

Is your .mov file cut into your timeline as 1 long chunk, and then razored up, or are you removing portions of the .mov file as you razor it up?

If the file is the same length In your timeline, as your source version, then you could at least get avid to automatically razor up the new version of the .mov (Spanish) to reflect the edits you have performed to the English version of the .mov. (I only know how to do this when I’m sitting in front of the box unfortunately.) Then it would be a matter of transferring the effects from the English version to the Spanish version…would save a bit of time.

You could also try locking the sync of the first frame of your source clip (Spanish) to the first frame of you timeline English clip. Then advancing to each edit point with the fast forward button and hitting replace edit…but again, I’m not sure if the effects will stay in place.

If they don’t, can you apply your effects to a separate video track, razored to match the underlying clip? That way they will not be over written each time you change the underlying clip.

Glenn

[Glenn Sakatch]

Well you can put your sequence in a bin with nothing else, and tell avid to show reference clips in that bin.
(from memory) Hamburger menu/bin display/show reference clips?

Glenn

[Glenn Sakatch]

I think this is the pattern i used for Arri last time.

*/%R/%D/%D

This will take the name from the folder structure above the file you are using, which will get rid of the frames.

You can also use something like this

*/%R_*.ari

this trims the name down even more as you will see. I am not an expert on these patterns….i find them quite confusing, and i wish Blackmagic would come up with a new way of doing this… so i just keep a store house of them from other workflows and postings…so use at your own discretion.

Glenn

[Glenn Sakatch]

if you map one to your keyboard there is : ) (you can map drop down menus as well as pre-existing button assignments)

I’ve had the audio mixer mapped to F9 for at least 15 years.

Glenn

[Glenn Sakatch]

There is a particular tape name pattern that you can use for items like Arri to limit the characters that get represented. I am not in the office until Tuesday, so unfortunately, I can’t help with that right now. Google Arri, Resolve, source pattern and see what you come up with. The question comes up quite a bit.

As for the folder structure, check your advanced area in the output settings. Use Commercial workflow might be turned on, or you have set Resolve to use “X” number of folders to match the source layout. It is all in the delivery tab somewhere.

Glenn

[Glenn Sakatch]

You can right click to remove an ofx plug in.

The rest of the issue resolves around trying to do too much in one node. Many have a node for the LUT, and node for the balance, a node for NR. If you use the same workflow and same order of nodes each time, you don’t really need to name them after a while, you just know what they are. If you are sharing work, then you may want to name them.

Then it is simply a matter of deleting a node, or disabling a node.

Glenn