Glenn Sakatch
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There are no AAF lists in the free version, so a bit harder to get the round trip to go. I think there is a limit on the number of tracks. I say “I think” as i have yet to get the software to launch properly. (Actually i gave up and uninstalled it)
Glenn
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you might be better off either sending uncolored clips, which would be returned uncolored for you to color, or bake your color into a new VFX submaster, and export EXRs out to the AE artist. There is so much different color management going on between those two programs, it can be quite the nightmare. Relying on the AE color management settings, and the implementation of a LUT at their end might be more adjustments than are needed.
I am currently working on a spot with Slog3 footage. The workflow we tested between Resolve and AE involved me outputting EXRs- set to full RGB levels. The artist re-rendered those with no color management changes in AE and they imported back into resolve perfectly. We tried DPXs as well as a NUKE pipeline. Both worked, but involved me having to apply conversion luts when the files came back into Resolve to get the clips back to “normal” inside of Resolve.
I think both Resolve and AE read EXRs with a full RGB flag on them, and the rendered AE clips were indistinguishable from the originals.
Glenn
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You can do this in Avid, but it is all dependent on how the media was built in Resolve in the first place. (Type of camera original is important too, as some files just don’t get proper metadata in Resolve…(MTS))
Proper timecode and clip names/reel info are extremely important. If those weren’t assigned correctly in Resolve on round 1, then they will not relink in Avid now. If in avid you see a lot of MSMMOB clips in the information columns, then you are in a bit of trouble.
If you can find some of the information matching in Avid for both the proxys and the camera original, then you can start playing with your relink to selected settings to find a match.
Glenn
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Haaa, I had to make one 2 weeks ago and spent 5 mins going “where did they put it now?”
Glenn
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Also, make sure your viewer in Avid is not set to yellow or yellow/green. (bottom left corner of your timeline)
Glenn
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you tried to physically move the parts from one hard drive to another?
why?just install it in the new computer.
Glenn
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Along with Pats comment…if you are putting 2.5 hours on a single layer disc, you are compressing more than twice what a “normal” dvd would do. (store bought dvds would be 1.5 to 2 hours on a dual layer disc)
I would try encoding towards a 4 gig file in one of those programs and see what it looks like first…that’s basically your file restriction.
You also might want to look towards a blu ray burn instead.Glenn
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I think you are expecting realtime precision out of Marquee, which might not be realistic. Again, i’m not a marquee person at all, but what i do remember is you had to render the effect when you left Marquee, so i wouldn’t expect real time playback in Marquee.
Once in Avid, have you rendered the effect on your timeline? Are you seeing little yellow or red lines under the effect in the timeline area…indicating you are having memory/playback issues?
To be honest, i watched your wmv and thought “Wow, that doesn’t seem too bad”
Glenn
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I’m basically asking what type of project you are working on, 4k, HD, SD. It is possible your box and drives are just under performing for the project.
If your Avid project is 30i NTSC 4:3, than you are pretty much using the lightest weight project type available. When you jump to Marquee, you would basically be working from the same project type automatically.
I’m assuming your are using a video background from your timeline in Marquee?
When back in Avid, your project has no issues with playback?
How long of a title are you trying to build? Is it struggling with a 2 second title, or are you trying to put a title over top of a 3 minute piece? Start small and work you way out to see where your bottleneck is.
To be fair, i am not a Marquee user…probably haven’t opened it for 4 years, but these types of issues usually go hand in hand with project type, or storage type/speed, or computer power.
Glenn
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Well Avid is going to need to take control of the deck to search out the inpoints for each clip, so you would need deck control. Was it just manually digitized with no deck control the first time? Do you clips have proper timecode on them that matches the source tape?
Glenn