[Glenn Sakatch]

I have a 32 inch ultra wide monitor, so real estate isn’t really the issue. The problem is what little ability we had to do minor resizing of the work areas in v.11 and earlier, has now disappeared, in favor of the little button that allows you to jump to a couple of preset sizing options. Sometimes all I want to do is open up the nodes a bit, or expand the viewer down a bit. I can no longer do that.

Glenn

[Glenn Sakatch]

I run the Avid control, Avid Colour and Avid Transport.

Control works well with Resolve – as a programmable hot keys surface.
Color works well with Resolve.

I have actually never tried Color with MC, I have no need to.

Control works very well with MC as a transport control and hot buttons program
Transport works well with MC as a transport control and hot buttons program, but with less buttons, and more brain power to remember where you mapped everything.

All 3 need to be connected to the same network. This can be a bit of a hassle. You will probably need a hub to use these in addition to your basic internet hookup cable.

Personally, i have the Avid Transport on the coffee table by the client monitor. If we are sitting there watching down a show, i can control my box.

Other than that, i stick to the Control and Color surfaces for most of my work.

If you want a cheap solution, I also have used (and love) a G13 gaming control to map hot keys for pretty much any program you want to run.

Glenn

[Glenn Sakatch]

try right clicking on the installer and select “run as administrator”

Glenn

[Glenn Sakatch]

does the window not remain for the entire clip? How long is this clip?

Go to your keyframe area and select auto keyframe for that node.
Go to your key page and adjust the gain of the matte to be either on or off during the shot.

Glenn

[Glenn Sakatch]

ignore the edl

in the media page, find the original clip and bring it in. Is it really 23.98?
Does it have the timecode sections you need for your timeline?

Is this a spanned clip issue?

Glenn

[Glenn Sakatch]

if the links don’t automatically get replaced when you do a new link, make sure you check your settings page, under link, and turn on the “if this volume has previously been linked” button.

If it still doesn’t work, try creating a new bin, and linking to the files. Those links should also replace your original links, but in the end, you should be able to make new links, and delete the original links…they are after all, just links. Doesn’t really matter if they are links you did 6 months ago, or links you did today.

Glenn

[Glenn Sakatch]

Go back to your Resolve output tab.

did you select round trip as your preset?

If so, then Resolve will automatically create a new aaf upon completion of the output. This aaf, is usually either with the media it created, or 1 layer up…(seems to bounce around on my system) is what you need to import into avid to get avid looking for the newly created media. Essentially, this new aaf keeps all the information from your original Avid timeline, and adds the new file names of the rendered media from the Resolve output.

Glenn

[Glenn Sakatch]

you would still have to open every bin, but you could create a master timeline from every clip in your project, put that sequence in a bin, and do a bin display, show reference clips selection.

Glenn

[Glenn Sakatch]

I can’t speak to the workflow in Premiere, but typically when I cut for broadcast (in Avid), you cut your 23.98 sequence, and create a master file of that. In todays world you should have a 23.98 master file, incase anyone wants to burn a dvd or go to PAL.

In Avid I would then simply bring that 23.98 master into a 59.94 sequence and let Avid do the conversion.

If Premiere isn’t up to the task, then sure use the Terenax, I would still keep a 23.98 master kicking around.

Your audio file should work on both sequences.

Yes you need to adjust your timing. In Avid you can monitor a 59.94 time inside a 23.98 sequence. I’m not sure if Premiere can do that, but there is nothing more embarrassing than submitting a program that is too long, or too short because you didn’t make the adjustment.

You probably need to submit a 59.94 drop frame master to the broadcaster.

Glenn

[Glenn Sakatch]

How much motion are we talking about here? Person wearing the boots and running through the screen, walking through the screen or just the camera on a hand-held look?

I’m assuming you’ve tried tracking the window?

Lets face it, if there is lots of motion (and motion blur) there is no easy/qucick way to do the masks, if you secondary controls aren’t pulling a proper key.

The advantage you have is that the shape of the boots aren’t changing, unless they truly are magical. Take this into account when you start moving your keyframes around. (move them as a group, not as individual points)

Rotoscoping is a time consuming process. As Marc said, Mocha is a great tool if you need to roto. You can spit out mattes from it, to use in resolve to help with your workflow.

And yes you can use only selected items from one node to another. Save it as a still, right click on the still and display node graph. You can then drag any of those nodes to an existing node on your current tree. You could also right click and append node graph, and then delete the nodes you didn’t want to use. Helpful if you want to copy several nodes, but not all from an existing still.

Glenn