Marc Wielage
Forum Replies Created
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Which version of Avid? What operating system? I think this can work, but there have been a lot of bug fixes between Avid 8.9.3 and also Resolve 14.1.1. The moving target of formats like Red Helium make post-production very trying and difficult.
It would not be unreasonable to use Redcine-X Pro to transcode all the files to DNxHD (or HR), edit the DNx files in Avid, then at the very end of the project, relink within Resolve to the R3D originals. I have done that with Red Helium 8K files and it can work. You need a beefy computer, heavy-duty CPUs, and big GPUs to handle it, but it can be done.
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Michael Gissing above is correct: the best workflow for any dual-system (camera/sound recorder) project is to make sure that both camera and sound have the identical timecode 100% of the time. Frequently, this requires putting a “jam box,” like a Denecke SB-T or an Ambient Lockit, on the camera and letting the camera run in continuous jam all day long.
If you do this, the sound will never drift. It’s been proven to be a rock-solid workflow for many, many decades. Recording audio without embedded timecode is fraught with problems. I strongly recommend that you don’t do this. One reason why is you will run into long-take situations where the sound will slowly drift out of sync, requiring hours and hours of work to manually slide it back in sync.
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Nested Timelines actually work pretty well, and we routinely use that during the “versioning” process (textless, foreign titles, theatrical version, home video versions, etc.).
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What firmware are you running in the Mini Panel?
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I think for any project like this (particularly a 20-day shoot), you need to establish a solid workflow long before a single frame of footage is shot. Do tests and make sure the camera originals, the transcodes, and sound will work throughout the entire path, using all the software and workstations that will be employed during the project.
Me personally, I’d transcode everything to some lightweight format like DNxHD, use those for dailies and editing, sync in Avid, then create an XML at the end and bring that into Resolve and link back to the camera originals. And use Avid’s own export path for bringing sound files into Pro Tools. This is a pretty rock-solid workflow that is used all the time.
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[Juan Salvo] “Read C300.”
Specs on the original Canon C300:
My T-shirt stands as-is. (Note the original message was from 2014, and many 8-bit cameras are still out there.)
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Tomek is correct: “Enable 2K Scroll” is still in the 14.1 View menu…
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Yes — transcode the footage to ProRes 422 first. Don’t use the Hate Dot 264 files.
I would also be wary of using a computer display for grading, assuming you’re doing that. You’re much better off with a calibrated external display using a Blackmagic display device.
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Same here. I’ve opened a few 14 and 12.5 projects and no crashes there. I’ve had other crashes for other reasons, but not that.
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If the cache directory is momentarily unavailable, it can cause problems like this. Generally, I see this more with Gallery than with the thumbnails, but I believe they’re all in the same place. Double-check the path names in the user prefs and relaunch and see if they come back. I have had to struggle with this sometimes when moving a project from my computer to a client’s system (or vice-versa), but it can be done.
You can also update the thumbnails in the project by right-clicking on any clip in the Color Page and choosing “Update All Thumbnails” (p. 679 in the manual).
