[Glenn Sakatch]

does windows not ask (or tell you) to uninstall the previous version when you start the install process?

Glenn

[Glenn Sakatch]

would the videos from youtube be deteriorated? Probably- depends on the quality of the upload.

Either way, you should still see the relative difference between the brightest and darkest parts of the piece, no matter what the degradation is. As well, you will still see the vectorscope leaning one way or another off of center…or right on center.

If the blacks look way to high on the scope, then they will look way too high on the version you are watching anyway…unless that is what was intended. I don’t think you will be downloading a youtube video, and suddenly see a drastically different version of the piece…depending on how your edit application interprets it.

Glenn

[Glenn Sakatch]

I agree…shouldn’t be too hard, but you will have to just sit there and sync stuff up.

Put your audio down on the timeline, with all your camera 1 video, in order it was shot, above it.

Select all the clips, and move them until the first video is in sync…then deselect that clip, and move the remaining clips until the second video is in sync….keep going until all of camera 1 is in sync. Repeat for Camera 2.

If you listen to the camera takes, you should be able to get a pretty good idea of where they are in the concert…song 1, song 2, etc. That will get you half way there right away.

Its not a perfect scenario, but within an hour or two, I would think you would be in sync.

Not everything can be solved with an “auto” button.

Unfortunately, when there isn’t any production workflow discussion before the shoot happens, the post guy ends up paying…(hopefully through a clients wallet)

Glenn

[Glenn Sakatch]

Easiest thing might be to run them through After effects or Fusion and output a different version with an embedded alpha channel.

DNXHD, Animation, or even a tiff sequence can all handle alpha channels. Not sure if prores can do alpha.

you could also run it through one of those programs and just output a matte version, and use resolve to composite it back together.

Glenn

[Glenn Sakatch]

That statement (deleting raw) scares me.

Just to clarify..if your raw is 4k and you transcode it to low res hd and then cut and color with that media…”source resolution” will result in using low res hd clips,not 4k. The fact that you were waiting for this answer befor deciding to delete your raw source material has me wondering if you are still reaching the wrong conclusion. Perhaps i simply dont understand how this answer would make it ok to delete you raw files in any situation.

If anything i would think it would make you want to keep them..relink to them..then output at source resolution.

Unless your transcodes are all really high resolution as well.

Glenn

[Glenn Sakatch]

Sorry…i thought i was in the Avid forum 🙂 please disregard everything the idiot just typed.

Glenn

Glenn

[Glenn Sakatch]

have you tried an aaf? I used to send aafs from MC to Avid DS, and I’m pretty sure collapsed items would come across.

If you give them a copy of the project, there is no reason the collapse’ clips won’t come across. You are talking about collapse’s correct? not mixdowns or anything like that.

Glenn

[Glenn Sakatch]

it doesn’t change where your source is coming from if that is what you mean by
really using source footage.

If your clip in the media pool is 4k, but your timeline is 1080, resolve will render you out a 1080 clip, unless you click that box, then you will get a 4k clip. (the raster size of the source) If your source is 720 and your timeline is 1080, you would get a 720 output with this turned on. Perhaps source “resolution” is not a great term, raster might be better…at least that is how i understand it.

Glenn

[Glenn Sakatch]

If you are thinking you should simply use a lut to color correct your show, then you are falling into the same trap that a lot of people who are new to Resolve are falling into. LUTS are not the solution to your color correction problems.

Learn to use the program and the controls it offeres. Adjust your whites, blacks and mids. Play with the saturation and the color controls.

The “look” you are referencing is called “clean, color corrected footage” There is nothing special about it. The whites are white, the blacks are black and the mids are somewhere in the middle. The colors are fairly natural, not over saturated or under saturated. There is not color wash taking the hue to a strange place…it is clean.

You do not need a LUT for this (or any other) look.

Glenn

[Glenn Sakatch]

Put all your new media from resolve in a new folder in the Avid MediaFiles/MXF area called something like 888. Launch Avid and let it construct a database for this media…it will create an MDB file in the 888 folder.

In Avid make a bin called Color from Resolve
While Avid is open, open an explorer or Finder window, and drag the MDB file from 888 to the bin called color from Resolve.

This will populate Avid with the colored media. Select all these clips
Duplicate your sequence, and right click on the new one, and tell avid to Relink
Select the option to use all selected clips in open bins.

From here you might need to experiment with settings, but i usually tell avid to use the Tape name and Source File name tab, ignore extensions, and uncheck the match uppercase/lower case option. Give Avid the widest range to check.

I don’t tell it to make a new sequence…cause i just duplicated the sequence.

Give that a go. (I do this workflow about 3 times a week)

Once your sequence is relinked, you can rename 888 to something you understand, like “Project Name_color from Resolve”

Glenn