[Job Ter burg]

The same should apply to color grading.

[Job Ter burg]

Oh, and you could of course drop a Safe Color effect on a top video layer to legalize the signal.

Other than that, you will likely need to worry about sound, which should adhere to certain requirements. Mostly ATSC A/85 in the US and EBU R128 in Europe, but there are differences in specs between broadcasters.

And finally, there used to be a brief moment in history where you would output to a Digital Betacam tape, and that would be pretty much a worldwide accepted standard format. These days, anything and everything is done and required, from HDCAM-SR to H264 Quicktime files.

I would argue that if you master in DNxHD or ProRes, then make – and archive – a Same-As-Source QT export of your final sequence with 601/709 levels, you should be able to derive pretty much any required deliverable from that.

[Job Ter burg]

You might want to read up on the way the ‘RGB’ (misnomer, but still) and ‘601/709’ options when exporting from or importing into Avid MC.

601_709_RGB.pdf

[Job Ter burg]

Baselight houses I worked with seem to prefer EDL over AAF, and the short test I did some years ago showed that the resize info did not get across in the AAF (the Baselight would not pick it up, or not correctly).

I usually add timeline comments to the resizeds shots (red segment select, record monitor menu, Add Comment). i type in the percentage. When creating the EDL, I tick the “Clip comments” box in the options. This adds the comment to the event in the EDL. They will then know which shots to resize. They will then manually redo that resize looking at your offline reference

I always ask that they don’t have the Colorist do this, but rather a conform editor. Many, many things can and do go wrong when conforming, and top many people rely on auto-conforming, only to find out that there are tons of issues with speed changes, resizings, etc. Good conform editors tackle these issues.

Then, because I am a control freak, i ask the conform editor to send me a QT or MXF export of the conform, and I then gang my offline and this new file in the source and record monitors, and check each shot for sync and applied effects. Depending on the dedication of the conform editor, i then usually find between 1 and 5 errors per reel, much more if they did a lousy job. Time consuming, sure, but it makes sure that you get what you intended.

[Job Ter burg]

Or MetaFuze. But I’d go with Resolve.

[Job Ter burg]

You need not relink. You need to find the database (msm.db) in your Avid MediaFiles folder and delete it. MC will rebuild the file and should then find the media again.

I would avoid a mixdown, you can never relink those, and they lack any and all metadata.

[Job Ter burg]

Well, they must have been moved or deleted, otherwise they would not have gone offline. If you matchframe to the original clip, then hit FindBin, it should bring up the bin with the original clip. There’s a column named Disk there, and it tells you where MC thinks the clip lives. Check that drive.

[Job Ter burg]

If Cam A was shooting 24, why are you editing in 23.976?
If the B-cam was running 48 and the A-cam was running 24, speeding up the B-cam 200% will let them run in sync.

[Job Ter burg]

Those clips for that sequence are offline. You are seeing them play because you rendered them, and the renders are still online. As soon as you delete that effect, you will see the original unrendered clip, which is offline.

[Job Ter burg]

Custom exports to ProRes (and H264 and what not) are not recommended, because they use the QT engine for the transcode, which is both slow and suffers from notorious gamma shifts.

Much better to either transcode or mixdown inside MC (maintaining correct levels and gamma), then exporting same as source. Faster and better.