[Hector Berrebi]

tested it again with underscore and numbers in the rename
renamed in finder.
brought into resolve
graded
export to QT as individual files (source name checked, unique file names unchecked)
works ok. file keeps the new name.

something in your settings/setup must be wrong.

can you give more detail about your stages within resolve?

[Hector Berrebi]

Hi

I tired to duplicate your problem.
renamed an R3D.
graded
then exported as individual clips using source name to QT PR422.

it exported with the new (renamed) name.

where did you rename the files?
what’s the workflow?
Setting up rushes for editing?
or coloring an edited project within a round trip to some NLE?
if its the first option, I can see why you would like to keep the name you gave it,
if its the second, not sure why its so important.

hector.

[Hector Berrebi]

I believe he meant the apple menu or the date & time menu (both can lead you out of resolve)

[Hector Berrebi]

could be many things.

can you detail your workflow a bit more?

I recommend populating media pool first, then importing XML and unchecking the automatically find media.
noticed it worked better.

if you take a chunk of timeline that contains mistakes, make a new timeline out of it and then try and send that short simple timeline (preferably one simple cut to cut track) via xml does it still get confused?

did you try exporting AAF instead?

lastly, from my many years conforming projects, 80% is maybe borderline, but quite good an outcome for automatic tools.
as long as you have an offline ref and all the media, you should manually reconnect the remaining 20% in a rather short time. (unless this is a1000 cuts project and 200 of them didn’t reconnect…)

there are always bugs and gremlins when moving projects around, and always some files that with no apparent (or simple to find) reason reconnect wrong. I found that in most cases the fastest solution is not to fix the workflow, but to get the job done 🙂

[Hector Berrebi]

only guess I can make in this case is bad keying/qualification combined with noisy, compressed footage.
not enough info, and no example to see.

I asked about monitoring, since once you see something properly on ext monitor (preferably pixel to pixel) then you have much less surprises on exports.

it is not uncommon to notice noisier keys after export then go back and fix them.

maybe you can show/explain one example, preferably this way:
1. what kind of footage you used – still or (better) few frames of original ungraded footage
2. what tools you applied in your nodes
3. still or (better) few frames of export

hector

[Hector Berrebi]

if your work is only seen on computers (web?) and does not get broadcasted. Why do you work in Auto/Video levels? and not in Full? you are adding a layer of confusion to your work.

it also seems like a potential reason for your lifted blacks.

[Hector Berrebi]

not so long ago… before software communicated well via XML/AAF (rather well) bit before camera files became files and when metadata was TC and reel No… conforming used to be a potential small hell at the end of your project. especially in documentary type work and almost always in indy work…

Things have definitely evolved positively since 🙂

Here’s one good general tip for your new job from my experience.
Depending of course, on the length of what you are conforming, it is quite common that some clips just don’t reconnect right. I noticed people have a tendency to try and solve the problem, locate it in original timeline, MXF/AAF, in the files… then look online in forums and generally waste time.

As long as its manageable (few shots in short project, up to 50 or so in long) and you have an offline ref, just fix it manually.
Trying to solve post production gremlins is not the goal of good conforming… and what does not work easy, is often easier to fix manually.

good luck.

[Hector Berrebi]

Hi Dawn

I teach Avid for many years and have taught a few rogue advanced courses (as in not official avid curriculum)

here are a few tips on writing an advanced course.

1. determine if its an advance technical course (making them better at operating an avid) or advanced editing course (making them better storytellers/editors).

2. If its the first type, I use to divide MC into sections (timeline, audio, settings, media management, effects and finishing) and give at least 2 classes per section which dive deeper into the possibilities MC gives. Avid’s world tends to go bit deeper than it seems and there are a ton of advanced/less known features in each section. Also, editors coming from basic courses + some work experience often remember a certain % of what they learned and cling onto it using it extensively, you’ll find in-depth classes on ways to use tools better (or new ways and tools) are well appreciated. I had exercises planned specifically for each step and an on hands test (1 on 1 with me) at end of semester.

3. If its the second type, you need to get your hands on some solid real-world narrative project (non-narrative can work, but narrative works better) I’d recommend against student shorts or even shorts in general. I used a pilot episode of a sitcom for years, all with shooting script and VO recordings (it even had VFX in some shots and I had the finished files for students to incorporate later). I think sitcoms (or other episodic non multi-cam narrative TV format) work (not the multi-cam studio type) because of many reasons like dialogues with often more than 2 actors, good coverage, and pro setup (unlike a lot of shorts). if its comedy, even better, as good editing is critical in comedy storytelling. timing and cutting comic dialogues is an infinite source of good/bad/interesting editing examples, and unlike drama, you have to not only make it work, but make it funny (where you always know if it worked without asking). they go through all steps of editing an episode from assembly to export (they even record their own VO before I give them the final one). I had very good feedback from this course.
I purchased this and used it several times in the past too (https://editstock.com/collections/education/products/handicapped-john) its not super amazing (and rips off a Seinfeld episode…) but it does the job if nothing else is available. I do strongly recommend against having the students bring their own projects.

4. In both cases, dedicate a good solid chunk of time to teaching them trim. I usually do it over at least 3 classes out of the semester. Novice editors generally don’t get it, and only multiple examples and a lot of hands on ( i bring them one by one to the “board” and play the director as they have to trim through a few cuts in front of the class) till they understand where they need to put their focus to become good editors contrary to good software operators. There are 3 main types of trim (i’m counting slide out) and each is a world of its own in its purpose, function, reason to be and usage… I think any advance class has to go all the way to dissecting and analyzing 8-9 track, multi type, a-symmetrical trims and why a good avid editor has to master them.

hope this helped

hector.

[Hector Berrebi]

are you outputting to monitor through some video IO card?

Hector Berrebi
prePost Consulting

[Hector Berrebi]

It was definitely advertised as a new feature in 12.5 (in windowed mode)
However… I just checked and seems it does not work.

At least you know someone’s working on it…

Though, since so many features are down there… dock would seem terribly in-the-way

hector.