[Nina Lucia]

In case you’re not aware… the locators (markers, sorry, I refuse to not use locator as that’s what they are!) will go into the sequence if you already have them on the clip if you have the setting for that turned on.

[Nina Lucia]

Additionally, if you need to know what folder the sound file came from to keep them organized in the Avid, you can have the bin show the Source Path column and see what folder it lives in on the HDD and organize accordingly inside MC.

[Nina Lucia]

If you import from the menu inside of Media Composer, you should be able to open up each folder to see the files inside multiple folders at once. Then you can select all and it will not select folders, just the audio files and you can import files from different folders at the same time.

And I’m pretty sure you don’t need to worry about the slashes. Your synced clip names won’t have them. Don’t take my word for this since I usually get my dailies prepped at a facility… but audio files from the sound mixer always come in with a slash. Now I have had to go back to original audio and did change the slash for anything I cut into the edit, but not for sound that was synced into a clip. (If that makes any sense. Basically, I did make sure no slashes showed up in the timeline, but didn’t worry about slashes in the original audio clip if I didn’t cut it in directly.)

[Nina Lucia]

I’ve had that error and I think it was when I made group clips with shots that had timecode going over from one day to the next, past midnight. The clip would not load and got that error. I looked at the duration and it was something like 14 hours long! It couldn’t make the group clip correctly because of the timecode.

So check the durations of whatever you are getting that error on, particularly if it’s a group clip.

[Nina Lucia]

That looks genius! Gonna give it a try, thanks!

[Nina Lucia]

Yeah, that looks very tedious and the tutorial I saw didn’t really seem to say why or where/how all that subclipping is happening.

We also don’t have Plural Eyes, so we’re just going to skip it unless that Group It For Me thing Trevor mentioned in his reply works!

Thanks for the response!

[Nina Lucia]

I know this is old but…

If they’re editing on Avid and asking for prepared footage, why do they want ProRes? Avid uses mxf files. Why wouldn’t they ask you to make what they are gong to have to use to edit?

And yeah, best bet is to prep in Avid if they’re going to cut in Avid. It will avoid losing sound metadata if nothing else.

[Nina Lucia]

When you change the clip names in the bin they live in, they will change in the sequence as well.

If you are only concerned with the clips in the sequence and not the others, you can go to “set bin display” > “show reference clips” and it will now list all the clips in the sequence along with the sequence. You can rename them here, or option + drag them into another bin and then you can keep them in a bin and rename them there. I would copy them into another bin so that you have a bin with the clip names saved. Then you can put the sequence bin back to not show reference clips and if the names ever revert, just open the new bin with the renamed clips in it to change them back. (Unless you already have them in a bin and are changing the name there.)

I would open all bins with sequences when you rename any clips as sometimes they hold the data and will overwrite the names back to the camera file names when opened. At least this used to happen, don’t know if it was ever ‘fixed’.

[Nina Lucia]

One other thing you can do if this helps you achieve your goal (which I’m not sure what the goal is), you can rename the video track. Right click on it and select Rename Track and call it B-Roll.

Or if you have to know which clips are B-Roll by looking at the timeline, why not color all those clips a certain color then use “local color” or whatever it’s called as a setting in your timeline. Then wherever those clips land, you’ll always know they are B-Roll.

If you can explain why you need to have the B-Roll on V2 and not have a V1 even if it’s empty people can better help you come up with a solution. But I can’t figure out why you can’t have an empty V1 track or why you have to keep all your B-Roll on V2 when you are presumable making sequences that are only B-Roll selects, so you already know they are all B-Roll.

[Nina Lucia]

Yes, do it in subcaps. I can’t explain it properly as I have to play with it to remember it exactly, but you create one in subcap, then you can save that as a ‘template’. Then you can trim that out over the entire area you are going to need the title on. Lift out any areas you don’t need them on.

Now you will have the same title over each shot. Go to edit the second one, then there’s a selection to edit master list or something like that. Select that and you will get a list of all your titles and you can edit the text of each one and it will remain in the same style as your first one, just the text will change.

Another method is using the subcap generator tool that I’ve used for vfx titling, but it limits what you can do with the text. It basically adds a suffix in incremental numbers, but I don’t like the numbers it starts with so I haven’t used it so much for the text but it will lay a subcap over each shot with the locator to length and then you just have to edit the text. So if you have a certain color locator on each shot you want a subcap on, then spit out an edl, open it in the tool at your finder/desktop level, it will find each of those shots and generate a subcap list that you then import back into Avid and it will place a subcap over each of those shots. I can’t remember who made it and didn’t find it with a quick google search.

This isn’t the tool I have used but same idea, instructions are there at the link:
https://www.evanschiff.com/bd/articles/tag/subcap