[Glenn Sakatch]

you might want to try linking to the prores files. That will retain the timecode. You could then transcode them, or simply cut with them as is. If the project isn’t too large, you might be able to do a bunch of replace edits.

If there are too many edits, then you might not be dead yet.

Once they are in the system, you may be able to combine the two bins information together.
Not my typical workflow, so I am no expert at the list combining aspect….perhaps Michael Phillips can chime in, as I know he has documented the idea of list combining before.

Glenn

[Glenn Sakatch]

I look at this from a different perspective.

To say your perpetual license becomes “worthless” is not fair. Is your 2012 Symphony license “worthless”? You’ve been using it (or have had the ability to use it) for 5 years to cut as many projects as you want on it. It will still work in 5 more years.

Now if as a business you decide you can’t afford 300 dollars a year (400 with exchange for us Canadians!) but can manage to run with the current license for 4 or more years, then you break even or even end up in the plus side of the ledger, if you decide in 4 or more years you want to “upgrade”. Pay 1200 dollars and buy a new perpetual license. your old license is still not “worthless”, it just isn’t current…you now have two licenses.

If you have a job that comes in where it makes more sense to buy a 1 or 2 month subscription, then do that…transcode, link, edit what ever…guess what, your old “worthless” license will still open that project up, after the subscription ends.

There may be a few newer features that are unavailable, but if you have the media, and the project, you can certainly open the bins and the sequence and work on it. And to be honest, if you pay for a new perpetual license today, at the current rate of “real cool new features” coming from Avid, you might not need to upgrade for 4 years.

Avid bringing back script sync and phrase find is probably the biggest news in 3 or so years. Are the new features nice…sure…can I edit without them…yes.

I currently have two active dongles…each year in January I have to decide if I’m going to pay for 1, 2, or neither of them to continue on support. I don’t do this thinking that one, or both of them will become “worthless”…just maybe
worth – less, but still quite useable.

By contrast, in Adobes model, (or Avids subscription model) if you quit paying for a month, then your product is worthless…until you pay some more.

It just depends on how you want to run your business.

Glenn

[Glenn Sakatch]

some decks have multiple pin connectors on the back…does yours?
Are you sure you are using the correct one?

Were the lights on your rosetta stone both on? (its not backwards is it?)

Do you have another deck you can beg, borrow, steal to see if it works.

Usually, if the stone lights up, then all should work.

Glenn

[Glenn Sakatch]

Joe, start by going under workspaces and calling up your basic edit workspace. That will reset you to default.

Glenn

[Glenn Sakatch]

Another thing I do quite a bit is a good old copy paste type workflow.

If you have a selection of clips on the timeline you want to copy, you can simply select the clip and hit ctrl C.

Now you could go to the new location and hit Ctrl V, or you could go to your source monitor right click and select clipboard contents. This will populate that copied clip to the monitor. Keep in mind that Avid will allow you to call up several previous items that have appeared in the source monitor…kind of a recent memory thing…so if there are several clips you want to use elsewhere, and you have already id’ them on your timeline, you can do a copy, clipboard contents, copy, clipboard contents, copy clipboard contents….and basically store the next few clips you want in your source monitors memory. Then go to your new spot in the timeline and call up the memory clips, one at a time and edit them into the show. Can be handy for montages where you have identified clips you want to use onto a timeline, but not really in the location yet.

Please remember the programs are different from each other, but the results can usually be achieved…maybe slightly differently, but the results are usually the same. Learn to embrace the differences and you will be flying in no time.

Glenn

[Glenn Sakatch]

I don’t have an answer for your particular situation, but i’ll share my experiences.

Surround is pretty straight forward if you are putting to a DVD….encode to DTS, drop it on a track, usually with a stereo version for those without the proper setup, and output a DVD with 2 audio choices for the viewer.

For computer playback, (typically) you are looking at creating a 6 or 8 channel output file, and that is where the issues happen.

There are a couple of standards to deal with in the audio suite and the edit suite, before it even gets to someones computer for playback. The basic issue is the order of the files. The most common setups are L, R, C, LFE, Ls Rs
or
L,C,R,LFE,Ls,Rs. Depending on how the audio was laid out by the audio engineer, or how the audio was laid out on the timeline by the editor, you can have very wrong results.

Then you need to look at the system you have for surround on your computer, and the order it is expecting to receive these channels in. I don’t have 5.1 hooked up to my computer…just to my receiver, so I can’t comment on how that is organized or changed, but that is where I would look. I’m assuming there is some software interface for your speakers?

In my suite, I use Avid and my setup works, with a small adjustment out of Avid.

Avid outputs 6 channels, -> SDI-> to an hdmi convertor-> and into a 5.1 receiver. I always set my timeline to L,R,C,LFE,LS,RS, as well as my Avid output to the same, and then play it back, and usually C and LFE are reversed…so for playback only, I swap those two on my audio output patch. (this affects monitoring…not file output)

For the broadcaster output, they receive the typical L,R,C,LFE,LS,RS (or what ever their specs call for)

Glenn

[Glenn Sakatch]

Did you use multicam in Avid?
Did you commit multicam edits prior to making your list?

(this can cause black clips in Resolve)

Glenn

[Glenn Sakatch]

Avid is very friendly in this type of scenario.

Glenn

[Glenn Sakatch]

Get yourself a good thunderbolt array, or something similar.

I think with P2 you can consolidate the clips (haven’t worked with P2 for quite awhile). If so this will basically copy the media into an Avid friendly folder structure, and you should be good to go.

Space wise, the consolidate process will be the same as the original files.

Glenn

[Glenn Sakatch]

It is going to come down to drive speed and connection.

That box should be fine for running Avid, ama linking becomes as much about your drive as the actual computer.

How much raw footage are you working with on each segment?

If you had to transcode to 175, would that kill you? (always a good question to ask yourself)

Glenn