[Glenn Sakatch]

I’m tempted to say “oh my God – that costs more than $500 dollars” just to meet Bob in person!
Bob I live up in Canada, and it would be an honor, but i suggest you come up in the summer.

(is that 500 Canadian or U.S.?)

Glenn

[Glenn Sakatch]

My guess is your problem starts with the mixed frame rates going into premiere, and the having it try to do the frame rate conversion.

My further guess is if you look at the timecodes that premiere has assigned to some of those clips, inside the xml that was sent to Resolve, you will find out those timecodes don’t exist. Usually because Premiere is just kinda making them up when it does the conversion. You then are going back to a 25 fps clip, or a 29.97 fps clip, looking for a timecode based on a 23.976 clip.

Frame rate conversions are pretty important to be done correctly, and i never feel Premiere (or the old final cut) ever did it properly. Avid is very good at tracking this information.

Glenn

[Glenn Sakatch]

First off you are going to catch flak around here for continually using “import” and “link” in the same breath.
They are two totally different things.

If you imported them, then you typically limit your ability to work your way around the images, assuming they are bigger than 1920 x 1080.
If they are smaller than that (or bigger as well i suppose) you need to check your import settings to see if you are doing a center cut, fit to frame, or what, as that will alter what you get on an import.

If you linked to them and then transcoded via the source browser, you should be able to get the native file size inside avid and then use the frame flex function to explore different areas of the screen, or add different aspect ratios to it.

Glenn

[Glenn Sakatch]

Ya, Avid isn’t really using the video card the same way something like Resolve does, but having said that, i have 2 1070s and a 960 in my setup. Both models have at one time or another been the main card that Avid would have seen, and it hasn’t had any issues with either of them.

I’ve also used a quadro k4000 and 4800fx and couldn’t tell you that any of them made a difference for Avid.

Glenn

[Glenn Sakatch]

You could try slowing down your fps render. It is possible the program is not finding the source frame as quickly as it is moving on to the next frame.

Glenn

[Glenn Sakatch]

As much as the dongle unlocks the program, Resolve and Resolve Studio are two distinctly different programs. Same with Fusion and Fusion Studio.

Glenn

[Glenn Sakatch]

It would stand to reason that the better result would start with the highest quality source, but since all your sources are going to be quite high quality, it probably doesn’t matter.

I’m not sure what Resolve does for H.264, but i’m guessing a simple test will tell you that any version you output, is just as good as the other.
If you can’t tell which is which, then go by which ever workflow is the easiest.

Next question will be whether Facebook re-encodes…i’m not a facebook guy, so i have no idea.

Glenn

[Glenn Sakatch]

The answer is more based on your needs.

Typically you would always have a very high quality master, that can then be used to create what ever type of distribution you may need in the future.

If this is a video of your cat taking a swing at a fish bowl, that you want to share with your MeMa, perhaps you can justify not having a 4k master.
If this is something you are going to use down the road in a platform other than face book, perhaps a 4k master is justified.

I work in film, broadcast and corporate, and I always create a master. Even for a corporate that they only want to put on Vimeo… I can’t tell you how many times they come back, wanting to do changes, or turn it into a commercial, or something like that. If all I had was the vimeo copy, we would be in trouble.

Glenn

[Glenn Sakatch]

Unfortunately, the “fix” is to not assume a gui on a Mac and a Windows box will look the same. Different engines, (I’m assuming) different monitors, different graphics cards with different settings. Ask yourself 1 question, “why would they look the same?”

Go to your local big box store with the wall of TVs…which one is correct? Why is that one green, that one dark, and that one over saturated. (ok, they are probably all over saturated)

The “fix” is to use a properly calibrated broadcast monitor that does not care what OS platform you are using.

Once again, we need a sticky, or was offered in another question somewhere, a popup from blackmagic when no external hardware is detected. “Viewed color on a computer GUI are not intended to be accurate- calibrated external hardware is recommended”

Glenn

[Glenn Sakatch]

If he used markers on his sequence, then the easiest thing would be to get a copy of his sequence.

If he had marked up his bin clips, then you could use his version of the bins, rather than your original version, and you would have all the markers.

Importing his markers (from a sequence) doesn’t make a lot of sense, unless you have the exact same sequence, with clips at the exact same location to make the markers have any meaning. … and I’m not sure why you would have that, unless he supplied you a copy of the sequence before he started marking it up.

Either way, just reimport his sequence and you have what he has.

Glenn