[Mike Most]

Right Shift + Step Forward = Next Clip
Right Shift + Step Backward = Previous Clip

This is all in the panel mapping document on the Blackmagic site.

[Mike Most]

Why would you want to export an AAF – which basically describes a sequence and associated media – for one clip? You can simply render the clip to whatever you want and pick it up in another program. If it’s Avid, just render the clip, put it in a numbered folder, and use the .mdb file Avid will create to get it into a bin. Or am I missing something here?…

[Mike Most]

Prototype doesn’t mean product. Especially when Red is the company. I don’t expect to see working product for at least 2 years. I could be wrong, but if I am, it’s probably because my estimate is too optimistic.

[Mike Most]

You don’t bring in MXF files using AMA. AMA is used for everything that ISN”T an MXF file. You bring in MXF files by putting them in a numbered folder under the Avid MediaFiles/MXF tree, and either let Avid create a database file (the .mdb file) in that folder and drag that into a bin, or use the Media Tool to access the master clips. If you’re doing a roundtrip, though, none of that is necessary. You do need to put the mxf files into a numbered folder in the proper place, but when you import the AAF produced by Resolve (you need to export one from the Conform page) Avid will relink it to the proper MXF files as long as they’re present automatically.

[Mike Most]

If they’re not specifically colorists or technical support, they might make that assumption. But they’re wrong. Everything Stef does today he does on Resolve, regardless of whether it’s commercial work, a huge feature DI, or setting looks on a television series (yes, he still does that too, for at least 3 shows this season, two of which I’m peripherally involved with).

[Mike Most]

What might be confusing to some is the presence of the 2K panels. Those panels can be repurposed for Resolve, but only on the Linux systems – which is what anyone who had a 2K is already on. The repurposed panels are not quite as efficient as the new ones (my opinion only, but I use the repurposed panels almost every day), but they work well, are physically very robust, and feel familiar to many. It also allows you to continue to operate the 2K when needed, using the same panels and monitoring.

And they’re $30K cheaper….

[Mike Most]

I don’t know who “they” are, but Stef uses Resolve for everything these days. He did a lot of commercial work on the 2K and used it for DI work as well for a number of years, but those days are over. He tends to work very fast, and a deep familiarity with the tool set is necessary for that, hence the continued use of the 2K even in the face of better tools. Now that Resolve is well established and more evolved, it is a far better tool, regardless of how fast one might be at manually tracking power windows ;-D

[Mike Most]

Motion pictures are not done on 2K’s today. There are a number of television programs that are, and the reason is primarily because the 2K is a “live passthrough” video device that can be fed directly from a VTR, record to another VTR, and do it without any rendering. That makes it still a useful device in situations where there is a videotape master as a source, which is not as uncommon as you might think. Of course, this is largely legacy in the remaining large post facilities that were built as videotape houses, something that will not continue into the future. The feature set of Resolve and all software based color correctors is far, far more extensive than a 2K and nobody really wants to go back to something that is much more limited. I don’t know of any company of significant size that’s still using a 2K for any DI work. All of the major facilities that were have replaced them with either Resolves or other software based systems like Baselight, Lustre, Film Master, Pablo, or others.

Not to mention that the 2K is effectively a dead product since the Blackmagic acquisition of DaVinci.

[Mike Most]

Red files carry two time codes, time of day and absolute. Make sure you’re using the same set of time codes in both Avid and Resolve.

[Mike Most]

If you just want to get at your new clips, there’s an even easier way. Do steps 1-3. Then go to the Finder (assuming you’re using a Mac, any window will do on Windows) and navigate to the folder you put the files into. After Avid indexes the material, you’ll find 2 new files in that directory. One ends in .mdb. Create a bin and drag that file into the bin. It will automatically populate the bin with all of the master clips for that folder. No need to use the Media Tool for that, although you can if you want to work a bit harder….. ;-D