[Mike Most]

>OH, and fire the camermen who stopped their cameras. they need to get your edit bill as they’ve cost you >a lot of time.!!

If the show was being shot on either film or a time-limited format (like a CF card on a Red One camera), and the show is some kind of concert or sports event, the camera operators were doing exactly what they’re supposed to do, assuming their assignment for their particular angle was to get the beginning and the end of the performance without having to incur a roll-out. As long as they properly advertised what they were doing, it’s your job as an editor or assistant editor to make it work. And your time is a lot cheaper than production’s time, even if it were possible to have unlimited run time on the camera formats I just described.

[Mike Most]

In rereading the thread I see you’ve already considered that approach. In most cases, I don’t usually have a problem with keys on log images. In fact, they’re often cleaner than those on video images. Some grading systems do an internal log to linear (true linear light, not video gamma, which is what you’re describing as “linear” but really isn’t…..) conversion for both color manipulation and keying, and then do other internal transforms for specific operations, so that the image is internally optimized for the specific operation being applied. Resolve does this when you’re using ACES processing, I don’t know if they do when using YRGB. Perhaps someone from DaVinci can answer that one….

[Mike Most]

One way would be to make some creative use of nodes. One node based approach that would do what you want might involve creating a second source node (right click->Add Source), followed by two serial nodes. On the first serial node, enable a log to video LUT. This will feed a “normalized” image to the second node. Set up your HSL key on the second node. When that’s done, connect the alpha output of the second node to the alpha input of a new serial node on your main source. That means that the node will have the log image, but a key that was created from the normalized image. You might have to invert the key on the node in which you created it, but that should get you what you’re asking for.

[Mike Most]

There are a number of threads here about this, but I’ll mention it one more time..

When you import clips into the Media Pool, you must select a method for identifying tape names. This is done in the Configuration pane called “Timeline Conform Options.” You have to enable the “assist using reel numbers from the” checkbox. In the case of R3D files, using “embedding in source clip file” should work. This setting controls what reel name is assigned to the clip when it’s put into the Media Pool. If you don’t select one of the options, there is no tape name assigned. That’s why you can’t relink. You need to make Resolve assign tape names that match those you had in Avid. You should read the Resolve manual section that describes this for a better understanding of this.

[Mike Most]

If they’re cutting on Avid, it’s much quicker and easier for them to provide you with a video mixdown than it is to export to Quicktime. You could talk to them and ask for that instead. As for whether Blackmagic will fix that, I don’t work for Blackmagic so no, I don’t have any idea if that is on their agenda or not.

[Mike Most]

Resolve does not support DNxHD codec for Quicktime. It does read DNxHD MXF files.

[Mike Most]

Are you assigning a tape name in the Media Pool when you bring in the source files? You need to explicitly tell Resolve what to use as the tape name on input in order to have it recreate it properly on output. The section on the right side of the Configuration page in which you do that (the one in which you can choose to extract the reel name from either the path name, an embedded name in the header, or a user assigned name) is there for that purpose.

[Mike Most]

There’s really no need for an ALE. If you place the rendered MXF files in a numbered folder under the Avid MediaFiles/MXF tree, then bring up Media Composer, you should see a file ending in .mdb that has been added to the folder. Drag that file into a bin and it will populate the bin with all the master clips for the files you created. You can then highlight all of them and do the link to selected as suggested. Of course, assuming your new clips are less compressed than the originals, relinking using Least Compressed should also work even if the old clips are still on line.

While it may seem simpler to use file names, as Final Cut does, the advantages of Avid’s database approach become obvious when you want to switch between resolutions, or between ungraded and graded media. since the tape names and time codes are the same, you can go between them based on compression, specific location, or file type. You can even relink to completely different media brought in via AMA, such as ProRes or AVCIntra files. Final Cut is far less flexible in file relinking because it relies solely on file names.

[Mike Most]

You can force it to ignore the original files by moving the originals out of the Avid MediaFiles tree. That will take them offline. The next time you relink it should only see the new files.

[Mike Most]

Are you putting the rendered MXF files in a numbered folder under the Avid MediaFiles/MXF tree on the root directory of one of your drives? Are you exporting a new AAF from Resolve and using that for the round tripped version?