[Glenn Sakatch]

If the dailies you were handed were not done properly, that would explain a relinking problem.

If I have relinking issues, the first thing I try to do is a relink to raw in Avid instead.

(If it works, I make an aaf with raw source into Resolve.)

From there I can see what is and isn’t coming in, and compare the metadata for a clip that works to that of a clip that doesn’t work…what is different. I’m guessing you have a tape id/reel id issue from the resolve side of things.

But I would also check for timecode consistency between the proxys and the raw.

[Glenn Sakatch]

its fairly basic math.

60 second clip – 20 seconds (first and last 10 seconds) = 40 second clip.

How fast does a 40 second clip have to run to fit into a 10 second hole?

I’m guessing around 4x faster than normal.

[Glenn Sakatch]

what format are you trying to use. (framerate/raster size etc)

Never used the format, but it does say to use their conversion tool for anything that doesn’t work. Obviously not every combination is working with every NLE.

Perhaps post a file if you can.

[Glenn Sakatch]

I used to do these in Avid by layering the shot on top of itself a few times, and offsetting each layer by a few more frames that the previous layer. Then play with the opacity of the layers.

There was also a plugin from Sapphire i think called frame blend, or frame delay or something like that that essentially did the same thing, but all on 1 layer. Not sure if Boris has a similar effect.

[Glenn Sakatch]

It’s quite common to get a mix L and Mix R files from a sound house.

Just put them on your timeline as chs 1 and 2, and pan the left and right.

Then, as Mads suggested, find out what your delivery specs are.

Having Left and Right Mono tracks vs Stereo tracks in your timeline is really not a big issue, as long as you keep your pans organized. I actually rarely work with stereo tracks in the timeline.

[Glenn Sakatch]

First question.

Was it an embedded aaf or was the media sent in a side folder?

(How big is the aaf you are importing?)

[Glenn Sakatch]

If it were me…

I would not worry about working in 4k. (I never do) Work in HD, and (if needed) change your timeline to 4k at the end. It also sounds like multicam is not necessary if you are going to have quadrants in the final edit anyway.

I would also consider transcoding to hd for the edit, going back to camera original for color.

I would consider editing each track individually, and then comping them all together at the end.

I’ve done multilayer shows before, and for the most part each layer is it’s own entity…it just happens to be viewed with other items on the screen as well. Cut yourself 4 20 second teasers, and then put them into the quadrants.

I would just resize and crop my shots into the size position i want for the individual windows. Using windows and alpha channels is just more strain on an obviously over strained system.

[Glenn Sakatch]

And Cross Platform would indicate you are probably going to need several outputs.

[Glenn Sakatch]

A lot of distributors will no longer accept these conversions if they are not done 1:1 – frame for frame conversions.

I bring in a 23.976 master to a 25 fps project. It is important that you don’t just open the sequence and have avid convert that, as the edit points can be affected by the timing of the new timeline, so it is better to bring in a single master of your program. Once the shot is in your timeline, you have to adjust it’s playback to be 100 percent, so the video and audio will now be out of sync.

From there, i export a wav file containing all the audio tracks. (direct output, single file)

I then import that into Reaper, and have it speed up the audio track to 1.042709376042709 in the item properties panel.

25 /23.976 gets you this number.

Enter however many of these digits Reaper will allow you to enter.

Tell reaper you want it to preserve the pitch, and set it to best quality, and do a consolidate/export.

The new audio will playback faster, but without the chipmunk effect.

I used to just bring the original audio files into Reaper and change them individually, but i had a couple of instances where they didn’t maintain perfect sync with each other. Doing them all in 1 file solves those issues.

[Glenn Sakatch]

Well i believe proress 422 HQ is up to 220 Mbps vs AVC’s 100, and I think they are both 10 bit, but it also depends on what you are importing.

If you are up converting to 220 Mbps from an XDCam 50 file, its just a waste of space.