[Glenn Sakatch]

The idea being you put the free version of resolve on your system as well. He does the color…sends you the project archive..you load it in resolve and render it at your end,avoiding all the dropbox transfers.

If his color is simple enough he could provide you a cdl that avid can read…but that is bare minimal corrections. No windows or anything like that.

Glenn

[Glenn Sakatch]

The other issue i have had with C300 was resolve by futzing with the index.mif file

I hadn’t done a lot with C300 for a while, and then started on a project in January that was from a 20 day shoot, with all A and B cameras coming from C300. Every now and then i would get a folder that wouldn’t AMA link, but the individual files would.

All folder structures came to me on a hard drive, and appeared to be intact, with one exception.

I started noticing the index.mif file was not always in the same spot. Most of the time it was inside the contents folder, sitting with all the other folders that contained the individual clips. On one of the folders that didn’t work, the index file was not there, but i did find one inside the structure. ( i think it was actually up one level) I copied it into the contents folder, and the system was happy again. If memory serves, i had to apply this “fix” to about 5 folders.

Obviously, i would screw around with it unless i was working from a copy of the originals.

I have no idea how that file could get created in the wrong spot, but it did happen a few times. I do know the camera op used mulitple cards in his camera, and often the footage would span cards (which is another pain in the butt all of its own) but that might have something to do with it.

Glenn

Glenn

[Glenn Sakatch]

you actually don’t need to duplicate and delete part of you sequence for this type of troubleshooting.

If you mark an in and out on the range of the first half your sequence, and then do a play from in to out (6 on the keyboard?)
avid will only look at that section for its playback. It will work the same as deleting the back half of your timeline without acutally needing to do that.

I’ve used this half and half then half it again…then half it again… for years within Avid to narrow down the problem file or section.

Glenn

[Glenn Sakatch]

There is a rather extended topic from last week with the same subject line. In It I describe some of the aaf options.

In your scenario resolve will automatically create an aaf…if you are using a true round trip workflow. (Avid to resolve back to avid, using an avid round trip preset in resolve).

If your timeline has changed at all you need to export a new aaf out of resolve. NOTE.this different than exporting an aaf out of resolve. In the edit page right click on your sequence and you should see Create New AAF.

Glenn

[Glenn Sakatch]

When you import your xml in Resolve, you are presented with a screen that asks you how you want your media brought in.

You can tell Resolve to automatically import the media. This would result in it finding the media you were useing in Premiere when the list was made.

You can bring all the camera originals into the bin before you import your list.
If you deslect the Automatically import media option, resolve will then ask you what bin your media is in. Point it to the bin you just made.

There is an option to tell Resolve to use camera originals, but I think you still have to have the media in your bin before that works.

There used to be a way of getting it to ask you where on your drive the camera originals are…but my mind is slipping right now. Perhaps that was if it couldn’t find all the necessary clips inside a bin?

Glenn

[Glenn Sakatch]

Are you using your system drive for all your avid media?

Not a great idea, but i’m assuming those other folders contain media that is being seen by Avid, in the projects they were originally used for?

Do you have another hard drive you can put your media on? You really should not use your system drive.

try this:
Take the folder called 1 and rename it to 2.
go into Avid and create a title tool clip and render it to your drive.
This should make a new 1 folder, and create a database in it.

If it does, great, if it doesn’t, then you might have a permissions problem on one of those folders inside the structure.

Avid can be told to ignore the boot drive, but again, if those other folders are working, i’m guessing that isn’t the problem.

If it creates a 1 folder, copy all the mxf media from 7777 into that 1 folder.
Do not copy the two aafs or any other files that are there (that text clipping file)

Delete the data base from the 1 folder, and relaunch Avid.

Does it rebuild the database?

When you imported your aaf, you brought in the one with the word Resolve in the title correct? not the one with the large string of numbers.

One last check to make sure the media is good would be to bring that folder back into Resolve and make sure a couple of the clips are playing correctly.

I’ve never had issues with a Resolve round trip setting for the creation of media, but i work on a PC as well, so cant promise Resolve didn’t do something.

Usually if there was a problem with the media, Avid would choke and give you warnings while it was scanning the drive….

Glenn

[Glenn Sakatch]

you didn’t answer questions 3, 7 or 8.

If you are not getting a database, it is quite often due to a folder naming issue. Post a screen shot of your folder name/structure.

Glenn

[Glenn Sakatch]

I’ve always had issues with the offline reference in Resolve. Import a clip as reference, assign it to a timeline…in older versions it would play in one tab, but not the other. Haven’t tried it in 12 yet. Personally, I find it much easier to simply bring it in as regular media, and drop it on a free track on the timeline. Mute the video track when I’m done, and use the audio track as my reference playback sound. I don’t have to worry about time offsets or anything like that. Just sync up the two pictures, and I’m off and running.

If I need to check something on the video, I can simply un mute the track for a look see.

If I want to check offline vs online, I simply put a transparency on the offline, or resize it to a lower corner box.

very simple.

Glenn

[Glenn Sakatch]

There are certainly a few ways to handle a situation like this, but you need to ask yourself a few questions first.

Is the editing done on the project?

Are you sure you won’t be needing any more from the hour long sources?

Are you finishing the project in Avid at the 145 resolution, or are you planning on going back to camera originals for an online?

Do you have the original files backed up somewhere. (camera originals and archival source files that were turned into 145)?

The usual answers would be to consolidate your existing project, with a pre-determined amount of handles. This would give you your existing timeline, at your consolidated resolution, and allow you to delete everything else. Obviously, if you aren’t done editing, this probably won’t work for you, as you would lose all the media that you still want to work with.

You could transcode everything in the project to a lower resolution,delete the 145 media, finish the edit, and then ama link back to the source material (assuming you still have it all) then when the edit is done, transcode the final timeline to 145…or higher if you want. Again, only works if you have all your source material on hand. If you are missing 1 shot, you will have a hole in you online.

You could isolate those hour long sources you have, create a timeline of the chunks you want, consolidate them, delete the waste, and cut the consolidated version into you sequence. Again, make sure you don’t want anything else from the clip, or that you have the original on hand for those clients that like to change their minds.

You could go out and buy a couple of external drives to store some of the media on. You didn’t mention your system specs, or your storage now, but for a couple hundred dollars, this might be the easiest, quickest solution. The storage will help now, as well as with future projects. Even a couple of USB3 or Thunderbolt externals will probably give you enough oomph to playback 145 media…depending on your current system.

If the project has been going on a really long time, maybe you need to clean out some of the renders and other items that have been created along the way. Depends on the timeline, and the previous work that has been done. Might not be a huge gain, but it does all add up over time.

Glenn

[Glenn Sakatch]

I think we are all a bit unsure why you feel you should adjust the key output gain on every node in your project…unless you are doing a ton of compositing, which still don’t think is Resolves strong point.

Perhaps a couple of before/afters, with a shot of your nodes might get someone thinking of an easier solution, or a better understanding of your problem.

I think, generally, we are all along the lines of Karsten…just do one final adjustment node, if its consistant across the board, you could save it as a still, and do an append node to all your other nodes, or as a timeline node as just mentioned.

Glenn