[Glenn Sakatch]

turn off the video track…hit play
turn off the audio track…hit play
mixdown the audio…does it play
mixdown the video…does it play

Glenn

[Glenn Sakatch]

If you originally imported a file, and you now want to relink you need to make new link versions of those files, then relink your sequence to those new links. I dont think you can relink directly imports to links.

Glenn

[Glenn Sakatch]

Also check your timecodes in the edit program vs Resolve. I’ve seen issues with 5d where Avid for example calls it 2 hour timecode, but in resolve it is reading as 26 hour timecode….or vice versa. Something to do with how the timecode is recorded on the 5d, and then interpreted in the programs. PITA

Glenn

[Glenn Sakatch]

Great advice. I see people on the forums all the time wasting days and weeks trying for the perfect fix, rather than manually cutting in 10 shots and moving on. We’d all like the perfect conform, but sometimes it just won’t happen.

I always tell the editors when i do an uprez and color…i don’t expect a perfect uprez, but if i can get 80 or 90 percent there than i consider it a success. With all the differnt cameras, codecs, frame rates and ramping going on in a project, i’m more than willing to fix that last 10 or 20 percent manually.

Glenn

[Glenn Sakatch]

Also not really sure about that workflow. I know titler pro v4 has a nice interface to use templates for multiple tiltes in the timeline, but i don’t think you can import a text document to create those multiple instances.

For your workflow, it kinda sounds like you want to take a function that Marquee has (importing a text document from word or likewise, and instead, import a finished AE project into Marquee, and then import a text document into that. Am I understanding that correctly? Even if the text document side works, i don’t think you can import AE projects in to Marquee, so you would be starting over.

Fusion used to have a nice script available that would take an excel spreadsheet and pretty much do exactly what you are attempting. Again, you would need to create your style in Fusion from scratch. Unfortunately since Black Magic took it over, there have been numerous reports that the script no longer functions.

Glenn

[Glenn Sakatch]

Just keep in mind, when moving the MediaFiles folders around, you are not doing a “relink” in the traditional sense of the word. (you do not have to go anywhere near the relink button, which many people are quite intimidated by)

Each folder has its own database. That database is written and read by Avid automatically when the name of the folder contains numbers only. By moving the the folder up one level, you are simply hiding the media from Avids database search. When you drop it back down, it will automatically see the media again. It is pretty important to hide the media, to ensure the box is not reading old media, when you want to to check that it is only seeing the new media, or to double check that Avid didn’t skip a clip because a version of it already existed on the drive.

Once the media is confirmed, change the transcoded media folder to a different name ( or number if you please, but harder to keep track of) and drop the other folder back into the mix.

Tracking your media properly is part of the challenge in the round trip process, other wise it is pretty easy for resolve to read a lower res version of a shot into your sequence, which you may or may not even notice until much later.

I would also add that many timewarps will come across just fine. I find most issues arise when the originating clip is not the same frame rate at the project. Basic speed changes certainly come across, as do most ramping situations, although because of the different techniques that can be applied in avid to create a ramp, your mileage may vary.

Glenn

[Glenn Sakatch]

Not an isis expert…only use it on road gigs. Not sure about the work from 6 months ago, but it sounds like the editor was working in a locked bin for the last round, and the work simply wasn’t saved correctly. I believe on Isis, every bay has it’s own Attic location correct? You’ve checked those as well?

Glenn

[Glenn Sakatch]

I typically do a different workflow for this kind of thing.

First of i rarely worry about audio into Resolve. You said the sequence is going back to Avid, so i’m assuming you just want to color in Resolve, and do the rest of your finish in Avid. This is my workflow as well. I don’t need 14 tracks of audio in Resolve to do a color pass. Export a wave file from Avid of your offline mix, bring that into Resolve and edit it onto your timeline. Delete the rest of the audio from the resolve timeline.

ack in Avid, i don’t usually embed the media during the aaf creation. Take your sequence duplicate it and put it in a bin call to Resolve, and transcode it, with handles to a clean “1” folder in your Avid MediaFiles structure. (rename your current “1” folder to something else…”Project name offline edit media”

Once the transcode is done, move your “Project name offline edit media” folder up one layer, effectively hiding it from Avid.

Now, when you load the transcoded version of your sequence, you should see it online, and the original sequence offline. Does your newly transcoded sequence look correct? If any media is missing, look at that media and figure out what is different about it. This will tell you that all the media you need has been properly transcoded.

Now, export an aaf, but only with the linking options set…no media creation necessary.

Once that is done, open the newly created timeline that has the word exported next to it. Does it seem correct? This is essentially the same timeline that Resolve will be reading. There is no need to keep it in Avid, I usually delete it, but it is handy to check to make sure all the tracks that I wanted to come across are there.

Now rename your “1” folder “transcoded to Resolve”

Launch resolve, import your transcoded to Resolve folder into your media pool.
import your aaf, tell Resolve not to automatically load media…it will ask you where the media is, point it to the media you just brought in.

With any luck you will get a timeline, where everything is online.
Delete the audio tracks, add in your wave file, and color the show.

When you export back using the Avid delivery preset, the list that is automatically created will still include your original audio tracks. Resolve doesn’t create a list with any changes that you’ve done to the timeline, unless you specifically request it.

This is the workflow I’ve been using successfully for years.

When you are ready to send the final edit changes from resolve to Avid, there are a couple of things you might want to consider before you commence, but that is another topic.

Glenn

[Glenn Sakatch]

have you tried a 200 percent timewarp? Pain in the butt if you have a ton of footage, but might be the easiest fix.

Glenn

[Glenn Sakatch]

Your educational license would not have expired. I believe it offered you a slightly different upgrade path to a full license at the end of the 4 years…if it was one of the older 4 year educational ones.

So yes, you can deactivate and activate it to yours hearts content. Just remember you have to deactivate it on the one before you can activate it on the other. This can be a bit of a hassle if the computers are not in the same building, and you forgot to deactivate on the one that you don’t want to use right now.

Glenn