[Glenn Sakatch]

Linking and transcoding, vs importing are different workflows, who ever told you you could link, then transcode, then delete, then batch import was wrong.

If you want to link and transcode, i always suggest you keep a copy of the original links on hand for the uprez portion of the project, that way you don’t have to go through the step of relinking the original clips.

In the end you would probably find transcoding (or retranscoding if you deleted the media) to be faster than a batch import any) You can even do the transcoding in the background while you work on other things.

Either way you need to have access to the original files to get the media back online, so does it really matter that you had to transcode rather than batch import?

As for Songster, as it is a third party app, you may be asking in the wrong forum. Have you tried pointing the re-import tool to the proper location? With Avid Batch import, its a pretty simple process to select everything and point it to the location of one of the files. I’m pretty sure Avid will usually find all the files in that location.

Glenn

[Glenn Sakatch]

Even your music is mono? Sounds like your spot isn’t up to spec for them. You may simply have to remix the program with proper stereo settings.

Glenn

[Glenn Sakatch]

you could try going to trim mode and typing “+1000, or -1000” Any number entered in trim mode to adjust the edit point, that exceeds the space before the next cut, will simply stop at the next cut.

If you have a gap of 5 frames between two edits, and go trim, +10, the trim will only travel 5 frames.

If your next trim point is further than 1000 frames down the timeline, then choose a bigger number.

Glenn

[Glenn Sakatch]

When you convert in Mpegstream clip, I assume you are creating a quicktime movie, and not an OP1a.mxf file correct?

Those two containers have very different workflows to get inside Avid.

Have you tried linking to the clips? The error message is basically telling you “you cant import this, try linking instead”

Glenn

[Glenn Sakatch]

Nobody is going to tell you what to charge. (Nobody should either)

This is a business that you run.

What are your costs? What is your day rate? What is your experience?
How much time are you budgeting to do each stage?

Did the client not ask for a quote at the start of this process? Typically you would offer up a quote, and get the job based on that quote. Something seems odd when you get the job, and haven’t been asked what it will cost.

As well, if you are new enough to the industry that you don’t have a true rate card, you have to be honest with yourself that you are indeed able to pull this off. If you are in over your head, subcontract out the work. Those subcontractors will have no problem telling you what their costs are. From there you can figure out your cost.

Glenn

[Glenn Sakatch]

you are screwed…make a new friend. At some point in the chain, you need to be able to plug TB into the computer.
Most TB drives have USB 3 as well, unless its a raid device.

Go to a local high school or college that has a Tv program.
Or call someone in a local post facility. If they are decent at all they would probably do it for free or next to free.

Mac Minis are what 400- 500 bucks? that is probably your least expensive adapter. Most TB hubs are several hundred dollars anyway.

Glenn

[Glenn Sakatch]

Are the punch ins all different? If they are, i’m not sure how quickly that could be figured out anyway. You would be calling up every shot, and doing the math, and doing the tweak.

Might be just as easy to use the offline reference as a 50 percent layer and manually go through the show.

If they use two or 3 different punch ins over and over again, you can use that method to figure out the equivalent amounts. Maybe a math pattern will materialize while you do it.

Glenn

[Glenn Sakatch]

Jef, if the timeline went From Avid with Handles into an mxf round trip workflow, and the colorist rendered it back out with handles, then when you bring the new aaf into Avid, your clips will simply have handles available to them, but (and this goes to the original poster as well) be aware that handles need to be worked with properly in Resolve during the color phase. If you are tracking a shot for a window, you need to turn on your handles at that stage as well, or your tracking will not work in the handle area when you do your final render. If you don’t tell Resolve to track the extra frames, it won’t. There are also instances where if you’ve colored a shot, depending on what it had done to it with any keyframes especially, and you aren’t keyframing the handles, you may find your final renders “handles” don’t have the proper color on them, making them useless anyway.

Glenn

[Glenn Sakatch]

I’m not sure I understand. If your 4k is 16:9 and the offline was done at HD in an older version, can’t you just apply a basic frame flex 16:9 to fill the frame?

Glenn

[Glenn Sakatch]

did you hit “apply”?

Glenn