[Glenn Sakatch]

As a non Mac user who has also had glitchy type renders, i will say that as soon as i replaced my Quadro 4000K card with a new card, the problems disappeared, and have not been seen for over a year now.

Luckily i am on a system that allows me to open it up and swap out the bad piece of hardware.

Glenn

[Glenn Sakatch]

Presley, at the end of the day, you have to be realistic as to what your project is trying to achieve.

You have clearly made the effort by researching some “real world” solutions for editing and outputting, but please don’t forget that in the end you are making videos (for free) for your kids, and your kids friends. They will be posted on Youtube or Vimeo, and will be a great source of entertainment for the parents and grandparents, but you do not need to be concerning yourself with trying to get them into the Polish film festival or the International Emmy awards.

I’ve been doing this for quite a while as a professional, and i have also gone through many years as the Hockey team parent with all the equipment and resources to make the year end video each season. Its easy to get carried away…just remember your audience.
(i admit i once built a hockey arena in 3d for the year end video)

If you are deliverying 1080, then shoot in 1080 (if possible)
If your camera shoots at H.264, then yes, you will quickly learn that you need to transcode to DNX or ProRes. DNX 115 will be plenty for your purposes, will save a lot of space, and will help your machine run better. You don’t have a client sitting over your shoulder, questioning why it is taking 30 minutes to output your 5 min video, so don’t worry if it isn’t the fastest process in the world.

Get a good 4 TB USB 3 drive for your box and format it with the label “Media” Transcode to this.
You may want to store your original H.264s somewhere else. If you need to retranscode in the future, here is your camera original backup.
Don’t put your clips or media on your desktop. Don’t render to your desktop, or your C drive at all. Keep it clean.
Maybe put a second internal drive in your system (doesn’t need to be an SSD) and use it to save your projects, maybe have a music library on it. Maybe stills from the Team photo shoot can go there.

Do not shoot 4k.
Do not buy a $5000.00 Raid storage system
Do not take any crap from the Refs…sorry, that was a bad flashback….respect in sport….respect in sport….respect in sport.

Glenn

[Glenn Sakatch]

Have you tried fighting with…er i mean playing with Resolves clip attributes for the mono source files (switch them to stereo) and or the timeline tracks, switch them from 1.0 mono to 2.0 stereo.

Glenn

[Glenn Sakatch]

I’m trying to figure out what the desired result is here, as i think i’m missing something.

You want to consolidate the timeline, but you want access to more media than what the timeline is showing…but you don’t want access to all the media in the project. Typically consolidating is designed to do what it is doing…take the media your timeline is working with, and pair it down to those clips only.

You seem to be looking for a hybrid, where you can access media from other cameras, but you don’t want all the media from all the other cameras. Is that correct? This does sound like a manual operation.

Might be easier to simply create a timeline of the master camera angles you want and consolidate that.

I think that media would relink to your existing clips.

Glenn

[Glenn Sakatch]

not in front of the box right now, so just thinking out loud, (and barely know what snapchat is:))

Can you make a custom project in Avid at 1080 x 1920.
Mixdown your existing timelines in the original sequence to create a single media clip.

open that bin in your new vertical project, and make adjustments as necessary.

Glenn

[Glenn Sakatch]

If you are round tripping with consolidated media, you need to add handles in the edit programs list creation.

turn on the view handles function when you start your color session.
Export with handles in the delivery page.

Glenn

[Glenn Sakatch]

could be a video card or ram issue.
Have you tried re-seating anything?
Is this across multiple projects?

Your timeline looks like there is a bit going on including an entire track that needs to be rendered. Have you tried a simple 1 track timeline to see if that helps?

Newer versions of Avid also have a setting which allows you to flush the memory. That might be worth a shot.

Glenn

[Glenn Sakatch]

You seem to be insinuating that only non-professionals use LUTs, and anyone using them is slacking off in the technical side of things, but you are missing the point. You are still using your monitor and scopes to grade for 709. The implementation of a LUT does not change that. The point is that if you want to use these luts, you are not necessarily handcuffing yourself. You are simply getting the footage closer to a technically correct shot sooner.

Having said that, using a LUT at the wrong spot could handcuff the user, and cause clipping and loss of information.

If you want to use node 1 to get your contrast corrected, and saturation boosted manually, you are essentially doing the same thing the LUT is doing, you are just working your way through the process a bit slower.

They should not be looked at as a one click and done solution, but in many (not all) workflows the use of LUTs can get you to a basic correction quicker than formulating your own starting point. You will still add a node, and adjust to your liking, but this way the picture gets a head start before you touch it.

Sometimes i use them, sometimes i don’t. Kinda depends on the footage, and the type of project i have.

Glenn

[Glenn Sakatch]

“you’re not gaining that much over shooting Rec709, no?”

Not necessarily the case. The key is to know when to apply your lut inside Resolve.

If for example you were to use Resolves color management, and apply that REC709 lut , you are given a clip converted to 709, but with all the latitude of the original raw shot. The correction is not clipping as you move down the chain, as you can still add a correction in node 1 and ease back on the highlights, removing the clipping, (assuming the original shot wasn’t totally over exposed) so in essence it gives you the best of both worlds.

What happens with a lot of people is they apply that generic LUT, see that the picture isn’t perfect, and panic, and remove the LUT.

Glenn

[Glenn Sakatch]

There are many aspects to this job where doing it “the old fashioned way” is quicker than fighting with an “automatic” workflow ….that takes hours to figure out, test and implement.

I once spent 3 days with a fellow on one of these forums talking about why his method of transcoding material in Resolve wasn’t working. (timecode wasn’t coming across properly because of the camera format). He was refusing to just do the transcode in Avid because it was going to take longer. After a few days of back and forth troubleshooting, I pointed out to him that if he had just done it in Avid in the first place …he would have finished it on that first day.

Glenn