[Glenn Sakatch]

Some of your files could be renders as well. Look at the file size of the mxfs. If you have a bunch of tiny files, they could be renders from the original edit. It is possible some footage didn’t make the archive.

Glenn

[Glenn Sakatch]

+1 I wouldn’t think twice about 10-15 percent. Anything above that, take a look and decide amongst yourselves.

Sometimes you are amazed at what you can get away with…sometimes the focus is already soft, and you can hardly do anything.

There is no hard and fast rule. Between you, the director and the producer, you have to make the call as to how much is too much.

I recently rewatched the first Bourne movie on HD dvd. There is a scene in the cheap hotel room with Bourne and the girl, where the cu of the girl looks like it was taken from a much wider shot and zoomed in at least twice as much. The focus was quite soft compared to the shots on either side of it. They went to this shot 2 or 3 times. I’m sure someone (the editor) said “thats too much” and someone else (the director) said “its fine”. In the context of the story and the flow and the emotion, most in the audience wouldn’t have had a clue.

Glenn

[Glenn Sakatch]

I’m running Windows 7 on a z820 dual processor. Upgraded to 8.65 yesterday from 8.5, and was told to instal this new version for Sony AMA.

Unfortunately today when i opened a project that was using color corrected mxfs from Resolve, i had nothing but crashes and mxf media errors. Avid wanted to Quarantine all my mxf media that this timeline was using. Again, all created in Resolve. Downgraded back to 8.5 and put the original sony back on, and everything is fine.

No time to play to see where the issue is…8.65 or Resolve, or the ama plugin or Windows 7 (or maybe a display driver?)

I’ll have more time next week to see what is going on.

Glenn

[Glenn Sakatch]

You’ve still got something strange going on here.
Where did this video come from, that says its 23.98?
Do you not have the original edit in Media Composer?
Where are the files coming from that you are sending to Protools? It kinda sounds like your only source is a quicktime.
When you put a tc generator on a filler track, what did you have set as it’s timecode source? (the quicktime or the timeline)
if the timeline, did you have your timeline tracking 23.98 or 29.97 timecode?

I’m glad you think you have everything “fixed” and ready for protools, but i’m not sure about your workflow.
While you can certainly cut in 23.976 and send that to Protools, then deliver your final product in 29.97, without issue,
its best to know when and why you are doing these conversions. (and how), rather than just being happy that it seems to be working.

It might lead to some issuse down the road. I just hope everything is staying in sync between Avid and Protools, and that your final picture looks proper.

Glenn

Glenn

[Glenn Sakatch]

There might be a bit of a language barrier here…are you trying to add a timecode burn to the video file?

The aaf you send to protools should have matching timecode as your timeline, so i’m assuming you are trying to add a visual representation of the Avids timecode to your video for the sound engineer to match up. If so, you would add a new video track to Avid, and place a generator/timecode burn effect on that track prior to outputting.

Or are you trying to embed the timecode information into a video file? In which case it depends on the type of file you are outputting.

Glenn

[Glenn Sakatch]

just so i’m reading this correctly.

You left the keys on the original graphics, so they were essentially keying over black (providing the fill on your video output)

You then put a pass of the matte only (dove into the key and pulled the matte out, placing it on the timeline?)

When you output, the keys on black worked, but the output file ignored the mattes only portion.

I can’t think of any reason this would happen, except the obvious…you had an incorrect in/out set on your timeline.

When i do clean keys at the end of the program, i would usually go fill then matte, then fill, then matte, so its easier to find the cooresponding matte for each key. Try this and see what kind of an output you get.

You could also put a flash of bars at the very end and see what kind of output you get.

Glenn

[Glenn Sakatch]

Yes the whole system becomes harder when the folders get the wrong media moved into it. It happens all the time. I’ve been naming my folders based on projects for years, but by working on several projects in one day, it is pretty easy to misplace a file or two.

I still maintain, taking that folder with the incorrect media in it, sort it by date created or date modified, and a quick look at the file names, and i bet you would have figured out pretty easily which files didn’t belong.

If the media you were looking at was a duplicate of a different shoot, you could also drag the database into a bin, and use that to either delete the media you didn’t want, or identify the range of clips and their names by sorting based on date, and using the “reveal file” function to locate one of those files in the mxf folder. The others were probably all right around the same area as far as date or naming convention.

The media tool funtion may have also been helpful in this type of scenario, but i honestly hardly ever load it up.

Glenn

[Glenn Sakatch]

Have you tried doing an edl and a cut detection based on edl?…or just a cut detection.

Maybe break your original show in halfs

Glenn

[Glenn Sakatch]

is the issue that you’ve deselected the “automatically” import media function, and now it is asking you where the media is…and you don’t want it to do that? You just want an offline timeline?

If so, just bring in a clip that appears in the program before you import the xml. Point Resolve to that bin. It will find the one shot, and give you a warning that most of the shots are offline. “Do you want to search another location” say “no”

You should be left with a (mostley) offline timeline.

You can then bring in bins of media as you need it, and have resolve reconform to bins as you see fit, if that is an easier way to deal with an unbearable timeline.

I typically bring in my media bins first, then the aaf (I don’t use xmls, but I’m pretty sure its the same process) and deselect the “auto import media” button. Point Resolve to the media I’ve already brought in, and move forward.

Glenn

[Glenn Sakatch]

Nothing wrong with Shanes method as well…I would simply say one more time…discuss with your producer what the output is. Going down one path, and then switching to another path is going to be more of a pain in the butt.

Is the producer paying for a UHD finish or an HD finish. Decide so we can setup and test the process and move on.

Glenn