Glenn Sakatch
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As usual i agree with everything Joe says…except i’m disappointed he mentioned a Fiero. As an former owner of a Triumph TR7, (the model Fiero blatently ripped off), i go into a rage mode everytime i read the word.
As for your situation, if you want to grade…seriously look into getting a grading monitor. Workarounds only get you so far.
I’m a huge fan of my FSI. I do have a lut box that allows me to Calibrate my Panasonic broadcast monitor to be very close to my FSI, but the differences still exist.
Glenn
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When you did your original audio mixdown, you could have selected dual mono and told Avid which two tracks to assign the new mixdown to as well. Then on your output, you could select direct out, and get only those two channels to leave the box.
Glenn
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You can add an empty track anytime you want. The term filler is really just a name being assigned to that empty track once you add some sort of effect to it. As an actual object that you can call up “Filler Track” doesn’t exist.
When you load filler in the source side, that is more intended to add empty space inside an existing video track…to space out a black hole in between two other shots. We used to need it to add blank space to the top of a sequence, but eventually Avid came up with “add filler to start”, (i think that still exists)
Glenn
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Do you have bars at the head of your show? what do they look like in MCs scopes. That will help you decide if MC is doing a full to legal or vice versa on import. Also check your auto vs full vs video on output from Resolve. it is more than likely a combination of those settings.
You may also find changing MC to RGB mode will match a bit closer once you get the full vs legal straightend out.
Glenn
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weird…I am not seeing that.
Are you linking to media, or is it avid created media. Perhaps just a lag from linked media?
Glenn
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I, like you have used this technique for a long time. (i started on Avid in 95, and that was how i learnt to use audio on the timeline…still do it to this day)
I am now running box on 8.5, one on 8.6 and haven’t seen an issue.
Are you hearing the pop after you add a dissolve?
I will occasionally hear a pop on an audio edit if you are not at a 0 point crossing in the audio, but usually a 1 frame dissolve will fix that.
do you hear a pop if you do an add edit, but don’t adjust levels on either side?
Glenn
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If you had any kind of control surface you might be able to build a macro for this. (Or I suppose download a macro program and program it to any key on your keyboard).
Next shot/autocolor/repeat.
I’ve never used autocolor but I’m assuming it has a keyboard shortcut.
Glenn
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You should be able to apply your time warp to track 1, then open the motion controls and drag the time warp clip to a bin to save the settings.
Double click your matte effect to reveal the alpha inside it, and drag the time warp effect to that channel.
If that does net work you can copy and paste the contents of the matte key onto your timeline so that it doesn’t have the key effect attached to it, just the alpha pass, add the time warp, then alt drag a new matte key effect to it.
I used to time warp keys with separate key and fill layers all the time. I believe that is basically what you are trying to do?
Glenn
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Should be as simple as going to frame 1, open the inspector, scale the image down to the size you want.
Set a keyframe
go to the last position you want it to grow to
scale to 100
set a keyframe.Glenn
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you are saying he cut in Premiere…sent to you for Resolve work, and you sent it back to him in Premiere?
Did you send him your Resolve renders? It may sound like a strange question, but there are others who thought all they needed to do was supply an xml, and it would contain all the colour information.
I typically create a new list in Resolve as well, rather than relying on the automatically created round trip list…although I use Avid, not Premiere, I would hope the functionality is pretty much the same.
Glenn