[Pat Horridge]

Tjhat’s right and if you want a 20 second duration you mark an In then type +19:24 for PAL land and an out or +20:00 and then nudge back 1 frame. It becomes automatic.

Pat Horridge
Technical Director, Trainer, Avid Certified Instructor
VET
Production Editing Digital Media Design DVD
T +44 (0)20 7505 4701 | F +44 (0)20 7505 4800 | E pat@vet.co.uk |
http://www.vet.co.uk | Lux Building 2-4 Hoxton Square London N1 6US

[Pat Horridge]

Robin If you can make the time and splash the cash I’d look at FCP to Avid cross training. VET do it but so do others as well.
Many FCP editors work out how to make Avid do what they need but Avid is quite different and they end up doing things in a very slow and complex way.
The FCP to Avid cross training is designed to compare the two working methods and how to convert and use the best tools and methods in Avid.
Is so frustrating to see an editor struggling and cursing the software when a few simple tips and they are flying.
When used right Avid can help an editor realy fly through the work.

Pat Horridge
Technical Director, Trainer, Avid Certified Instructor
VET
Production Editing Digital Media Design DVD
T +44 (0)20 7505 4701 | F +44 (0)20 7505 4800 | E pat@vet.co.uk |
http://www.vet.co.uk | Lux Building 2-4 Hoxton Square London N1 6US

[Pat Horridge]

I can appreciate that but there is a lot of interest from Avid users.
There’s been a massive move from FCP to Avid and from the FCP side round tripping via color is very similar to Avid round tripping to Resolve. But only if it works.
IF BM don’t ensure it’s seemless and the “gotchas” well covered users will get frustrated and seek other solutions of which there a number.
It’s only a limited window of oppertunity to grab that market if BM consider it of value.

Pat Horridge
Technical Director, Trainer, Avid Certified Instructor
VET
Production Editing Digital Media Design DVD
T +44 (0)20 7505 4701 | F +44 (0)20 7505 4800 | E pat@vet.co.uk |
http://www.vet.co.uk | Lux Building 2-4 Hoxton Square London N1 6US

[Pat Horridge]

Ah an RTFM moment:-)

Yet tocomplete testing on our system.
But is there a list of exactly whats supported in an Avid AAF?
Lessinterested in FCPLegacy as that will die off over the next year or so and We’ve seen exactly 0 FCPX interest or work.
PPRO may make a showing but it’s an improvement to Avid dated color correction that Resolve looks interesting.
We have a nice workflowroute via our DS but DS development isn’t a quick thing…

Pat Horridge
Technical Director, Trainer, Avid Certified Instructor
VET
Production Editing Digital Media Design DVD
T +44 (0)20 7505 4701 | F +44 (0)20 7505 4800 | E pat@vet.co.uk |
http://www.vet.co.uk | Lux Building 2-4 Hoxton Square London N1 6US

[Pat Horridge]

I know it’s going to be hardware dependent but what sort of processing time is the Resolve dailies going to take?
Also it’s an expensive setup for just processing offline footage isn’t it?
With the move towards direct access to media for immediate selects are their plans for an Avid AMA plugin?

Also if you offline in FCPX or Avid and you do any grading how will this go back to Resolve (and would it even mean anything as it’s based on a pre 709 LUT having been applied?).
Can Resolve read and understand an FCPX or Avid color correction effect? No point baking them in by rendering if you then link the sequence back to the RAW media.
Seems to be any grading in the offline should be seen as viewing grades only and will be lost when going back to resolve for the finishing grade.

Pat Horridge
Technical Director, Trainer, Avid Certified Instructor
VET
Production Editing Digital Media Design DVD
T +44 (0)20 7505 4701 | F +44 (0)20 7505 4800 | E pat@vet.co.uk |
http://www.vet.co.uk | Lux Building 2-4 Hoxton Square London N1 6US

[Pat Horridge]

Yes it will work fine. The drive name or drive letter (if on a PC) doesn’t even need to be the same.
The easiest way is to copy off all the media to a spare drive.
If you can do a verify to check it’s all copied over ok (Teracopy or some such)
Re stripe the drive and format it.
If on a PC add “everyone” as a user at the root level of the drive and set them to have full permissions.
Open Avid and create a piece of tone media from the Audio tool to that new drive. That will make the required Avid folder structure.
Quit Avid (never have Avid running while moving Avid media around as it causes all sorts of issues with quarantined files.)
Now on the new drive navigate to the 1 folder inside the MXF folder and delete it (it only contains the tone media just made)
Copy all the Avid Media from the backup drive to the new drive ensuring you are seeing folders numbered 1 (and possibly more) inside the MXF folder.
When copied again verify to check for errors and if all ok launch MC.
If the media databases are still intact MC may not even scan the folders but if it does just wait for it to finish.
Then all you media should be back on line.

Pat Horridge
Technical Director, Trainer, Avid Certified Instructor
VET
Production Editing Digital Media Design DVD
T +44 (0)20 7505 4701 | F +44 (0)20 7505 4800 | E pat@vet.co.uk |
http://www.vet.co.uk | Lux Building 2-4 Hoxton Square London N1 6US

[Pat Horridge]

Yes when you consolidate you are creating Avid managed copies of the media so you avoid some of the complications AMA can bring.
However this is where Transcode can be more helpful. Formats like HDV which can be consolidated and would make Avid MXF media would still be long GOP media so still heavy going for the CPU in terms of playback. So for some formats that could be consolidated Transcoding maybe better.
But you need to have a good understanding of the strengths and weaknesses of the various formats to make the right informed choice.
For many HD jobs I still prefer to Transcode AMA HD sources to an SD resolution. It makes the offline much quicker in terms of more realtime stuff and exporting files or DVD’s is also much quicker because you are already in SD. The relinking of your sequence to the AMA sources at the end is quick and easy (if you know how to do it) and you can then transcode to a finishing codec for output.

My favorite Avid AMA workflow is using Red files. All done in Avid. As long as you only need an HD deliverable (and even for a DCI HD is so close it’s often more than good enough)

Pat Horridge
Technical Director, Trainer, Avid Certified Instructor
VET
Production Editing Digital Media Design DVD
T +44 (0)20 7505 4701 | F +44 (0)20 7505 4800 | E pat@vet.co.uk |
http://www.vet.co.uk | Lux Building 2-4 Hoxton Square London N1 6US

[Pat Horridge]

Ah Mac yes that could be more of an issue. Much more stable on the PC side and has been for many a year.

The 1 frame offset is a real pain. Makes the card pretty much useless for conforming unless frame accuracy isn’t an issue (yer right)
Can’t see it’s a hard fix.
I’m pursuing it on various fronts.
Luckily digital cut in both HD and SD is frame accurate unless you try and use and onboard processing.
Also the XLR analogue inputs can be selected but won’t input audio with any digital video source selected.
It’s shame because the card has a nice price point and I/O options but that’s no use if it doesn’t actually deliver.

Pat Horridge
Technical Director, Trainer, Avid Certified Instructor
VET
Production Editing Digital Media Design DVD
T +44 (0)20 7505 4701 | F +44 (0)20 7505 4800 | E pat@vet.co.uk |
http://www.vet.co.uk | Lux Building 2-4 Hoxton Square London N1 6US

[Pat Horridge]

I’ve just finished building a Resolve Symphony system on An HP Z800 and it seems to fly on both as far as I can see.
I’m not convinced that the 280 driver resolve needs is best for MC and that seems to cause some display update lag but nothing that’s an issue.
Too early to really tell as the box is mainly doing workflow testing so no real heavy lifing yet.
We’re somewhat held up after discovering the Decklink HD Extreme 3D card suffersa 1 frame offest when capturing in SD or HD and that’s some what limits our testing currently.

Pat Horridge
Technical Director, Trainer, Avid Certified Instructor
VET
Production Editing Digital Media Design DVD
T +44 (0)20 7505 4701 | F +44 (0)20 7505 4800 | E pat@vet.co.uk |
http://www.vet.co.uk | Lux Building 2-4 Hoxton Square London N1 6US

[Pat Horridge]

It’s not as complex as it sounds.
Consolidating doesn’t change the media codec at all. It just makes a copy of the selected content.
So if you AMA link a clip and make a smaller subclip and consolidate it you make a smaller copy of that media in the same codec but now wrapped in an Avid MXF file.
Consolidating at the end of a job is an effective way of making a copy in a new location of all the media used in a final timeline(s) plus some handles for later tweaking if you want. But not having to take across the whole of the original clip. Also it’s done without re-encoding the media. So it’s quick and lossless.

Transcoding however allows you to specify the destination medias codec so you are decoding the source (to uncompressed in RAM) and then re-encoding to the selected Transcode resolution. This is slower and could introduce cross coding artifacts. However sometimes this is the best solution. For example you may have horrid HDV content and transcoding to DNX185 gets you back to much nicer, Avid friendly media but you will use a lot more disk space. Consolidating HDV just gives you re-wrapped HDV content.

Also with AMA there’s a lot of development where as importing is now an old and less devleloped method.

Hope that helps.

Pat Horridge
Technical Director, Trainer, Avid Certified Instructor
VET
Production Editing Digital Media Design DVD
T +44 (0)20 7505 4701 | F +44 (0)20 7505 4800 | E pat@vet.co.uk |
http://www.vet.co.uk | Lux Building 2-4 Hoxton Square London N1 6US