[Glenn Sakatch]

I quit doing build my own systems a few years ago…mostly because the research was turning into an endless loop. As such I have no real comment on which motherboard or anything like that.

I would suggest you think about an i7 processor.
I personally look more towards dual processor boxes. I understand you have no need for 4K, and only want HD, but for my money, a box that can be upgraded, is the biggest reason to go PC.

Next year at this time you may want to start doing color in Resolve, and you might be wishing you had a bit more beef…it happens.

I do think your SSD is too small. 120 is certainly large enough for the operating system, and programs, but doesn’t leave a lot of room for some of the caching that goes on with temp files etc.

I switched to a 240gig, and eventually went up to 500g. What really killed me on the smaller ones was unzipping or unraring archives. No matter how the programs preferences were set up, it would use the C drive for its temp storage. Large archives had to be extracted in parts, and that was annoying the hell out of me. You can probably get a 240 or 500 ssd for 100.00 dollars more? I would do it.

16 gigs of ram seems low Not so much for Avid, but for other things you might want to run. I would at the very least double that.

Glenn

[Glenn Sakatch]

The footage was recorded by an Odyssey. Not in front of it, but Im assuming it is ProRes. (I’m on a windows box btw)

A lot of the posts about Premiere to Resolve workflows talk about failing to link up because of timecode extents.

I’m not getting any issue with resolve not linking up, or not finding a clip. It easily finds every clip, but as I discovered with my tc burn with the source tc burnt in…for some reason premiere is confused when it creates the list, and is assigning incorrect timecodes to shots on the way out. (the list is not matching the timecodes on the timeline/burn window) Same issue when bringing the list into Avid and Resolve. Clips come in great, but wrong, and all at different offsets. Offsets fell between 2 Frames and 24 Frames in length. Nothing was over 24 frames, and no shots had to be slipped the other way. (Every timecode in Avid had to be increased in number)

I did discover last night, as I was trimming every clip in avid to get them lined up, that if a shot was used more than once, it would retain the same offset each time it was used.

I tried changing the clips in Premiere to a hard 24 instead of 23.976, but that just made things worse (as I kinda expected it to)

I’m wondering if somehow Premiere is outputting Drop Frame numbers onto my 23.976 timecodes?

I’ll see if I can figure out where it would assign that..again, i’m not a Premiere editor.

Again, all source footage is 23.976.
The offset coming into Resolve and Avid appear to match each other.
(One XML method, one aaf method) It is clearly something on Premieres end.

Glenn

[Glenn Sakatch]

Keep in mind your resizing problem is happening because (even though your source is 4K) you are zooming in a clip that has a raster setting the same as your timeline.- because you’ve imported, or transcoded the media to that setting. (1080) If you link to this clip, you may have more success with a pan and zoom type operation, but when you jump to 4k timeline, you are back in the same situation. You are taking a 4k clip, in a 4k timeline, and zooming in on it. You will once again, start losing resolution, because all Avid can do is enlarge the shot. You are no longer working with parts of the frame that are outside the raster size.

A lot of people think that just because its a 4k clip, they can zoom in on it all they want. That works to a certain degree if working in 1080, but not in 4k.

In my experience, what really happens when reframing a 4k clip while in a HD timeline, is you actually start to see that the focus was a bit soft…and the result is not as clean as you might expect it to be.

Glenn

[Glenn Sakatch]

Are the low res proxies already in the project when you bring in the XML? If there is no footage in the project, and you deselect the “automatically import media” I would expect it to ask you where the media is. – As I said, I use aafs, but I would think the response is the same.

If the low res is already in the project, then you would have to bring in the high res as well, import the xml, and then re-conform the timeline (right click etc) and point it to your high res footage.

Glenn

[Glenn Sakatch]

expecting perfect playback performance on 4k material might be unrealistic for many systems. If you are using this same drive for R3ds, I’m surprised you are not seeing issues with that as well, unless you have the debayer set quite low.

As there are many posts talking up the virtues of transcoding, I will skip that suggestion.

You ask if there are other shooting formats that would be easier to work with? Yes there are. You’ve named them in your post.

There are 4k file types out there that are much easier to work with than others.

Always a good idea to do some good testing when working with camera formats you (or your system) are unfamiliar with.

Glenn

[Glenn Sakatch]

is your voice track center panned or only on left or right?

It is possible your client only has 1 functioning speaker, and the speaker he is hearing doesn’t have full voice on it.

I understand you are hard of hearing, so if you were to call up your vu meters, does the voice look equal on both channels on output. (if you solo the voice)

Glenn

[Glenn Sakatch]

just remove match frame edits on your audio track

Glenn

[Glenn Sakatch]

Now that I re read my post, I may have mis typed.

If you bring the media in first, Resolve might not ask where the media is. But at any time, you can right click on a sequence and (depending on the version you are running) relink the sequence to selected bins. At this point Resolve will ask which bin you want to use. The location of this feature has moved around a bit, as version change. I think in 12.* it is under the timelines submenu during a right click.

[Rosie Walunas] “I just tried this – Importing the media into Resolve and then Importing the XML. It worked. Is the way it should be done if dailies were made from multiple projects?”

This is the way I do it.

If you don’t bring any media in, and you deselect “automatically import media” Resolve should then ask you to tell it where the media is. From here you can point it to a drive on your system. I find it just as easy to load the media first. Then if a clip is still offline, I’m halfway through the troubleshooting process. (if the clip isn’t with everything else…where is it?)

[Rosie Walunas] “I haven’t seen anything anywhere about a “reel id” in any of my tests. Where can I find this and edit the information?”

look at the clips that were created when you brought In your first version. The one that linked to the offline transcodes. Scroll through your media page and see what information has been tagged to the clips. This will show you the reel id/tape name that was assigned to those clips where they were originally created.

They should match (based on your project preferences) the reel/tape id that is assigned when you bring in your raw clips. If there is no tape id on the initial transcodes, but there is on the raw clips, or neither has a tape id, your project might not be set up correctly.

When doing transcoded in Resolve, always check that your initial media load has assigned proper tape/reel ids.

Glenn

[Glenn Sakatch]

I’m on a PC, and have a setup where the client sits on a couch off to the side of me, facing the 50 inch client monitor.

I use a 32 inch ultra wide monitor for all my editing needs.

To satisfy the clients need to “look over my shoulder” I use a mirroring program to feed a second monitor that sits off to the side of the client couch. (I use a program called ultramon) It allows me to mirror a full monitor, part of a screen, or only specific programs. It does work best with similar display sizes, but in my situation, it gets the job done.

In your setup, a similar item might work. I’m assuming you already have the third display hooked into your computer somehow. You would then “mirror” the second display onto the third display. Not sure if its available for macs however.

Glenn

[Glenn Sakatch]

just spitballin here.

go to audio project settings and turn off the “always convert to 48k” option.

Does your track 1 still play properly when you play back the timeline?

I’m wondering if Avid is doing a live conversion to 48 k for that track, and that conversion isn’t working correctly on output to quicktime.

Another option would be to simply output a wave file of your program. Does it play properly? If so, your quick fix would be to bring it back in and use it for your final output.

(I suppose you could just mixdown your audio to new tracks as well)

Glenn