[Reuben Fink]

Great thanks. Would that also apply for dual HDMI as well?

OSX 10.13.5
Equipment: 2.7 ghz 12 core Mac Pro Late 2013
32 gig of ram – AMD FirePro D700 6144 MB

[Reuben Fink]

I understand how to replace a file through batch import as described but what if (like in my situation) your originals were actually mxf files from davinci. How do you replace them then?

OSX 10.8.5
Equipment: 2.8 ghz 8 core Intal Mac Pro 3,1 Early 2008, 20 gig of ram
Aps: Adobe CC , FCP Suite, Avid Media Composer

[Reuben Fink]

Thanks. For the suggestion. I think I found a good work around. I import an xml and have only the referenced media pulled in as apposed to having all the raw files in the media bin that I would have to sift through. Then I create a new timeline and drag all those clips into it. Saves a little time.

OSX 10.8.5
Equipment: 2.8 ghz 8 core Intal Mac Pro 3,1 Early 2008, 20 gig of ram
Aps: Adobe CC , FCP Suite, Avid Media Composer

[Reuben Fink]

Thank you for your suggestions. I got pushed onto another project so haven’t had time to upload an example but I will very soon. Stay tuned.

OSX 10.8.5
Equipment: 2.8 ghz 8 core Intal Mac Pro 3,1 Early 2008, 20 gig of ram
Aps: Adobe CC , FCP Suite, Avid Media Composer

[Reuben Fink]

Do you mean by turning field rendering on? I did a test with it both on and off. Both results were bad. I am definitely getting interlaced footage on the output but somehow the interlacing seems to be baked in. All the footage that was slowed 50% strobes pretty bad. I made sure all the settings were correct in Davinci when the project began. If I get time I’ll upload a test clip tomorrow to show what I mean. If I’m wrong about the field rendering button then please let me know if there’s another way to turn on interlacing on the output.

Thanks.

OSX 10.8.5
Equipment: 2.8 ghz 8 core Intal Mac Pro 3,1 Early 2008, 20 gig of ram
Aps: Adobe CC , FCP Suite, Avid Media Composer

[Reuben Fink]

Do you know if this is now possible without the control service in Davinci 10?

OSX 10.8.5
Equipment: 2.8 ghz 8 core Intal Mac Pro 3,1 Early 2008, 20 gig of ram
Aps: Adobe CC , FCP Suite, Avid Media Composer

[Reuben Fink]

The problem that I see with the ripple mode is that you have to have all relevant clips in the same group. As soon as you do that you have to have the identical amount of nodes on each clip. This won’t work for me since all the clips that I’m working with have different nodes. Really I just want to ripple the effects of just a single appended node. Say for example a vignette. It does look like you might be able to do this but you have to have the control surface to have that functionality. Unless you know otherwise.

Page 649 states:

5. (Optional) You can control whether the rippled change is applied in an appended node, or an
existing node, in every rippled clip.

But this is really only under the Control Surface Section from what I can see.

On another note, I did figure out a workaround for appending a new node to multiple clips. If I need to append a vignette to 5 clips I create a single node CC with the vignette only and no other CC, then grab the still for that clip. After which I select the 5 clips, right click on the still and select “Append node tree.” This seems to work well.

OSX 10.8.5
Equipment: 2.8 ghz 8 core Intal Mac Pro 3,1 Early 2008, 20 gig of ram
Aps: Adobe CC , FCP Suite, Avid Media Composer

[Reuben Fink]

Sorry just a little lost on this one. I’m not seeing an option for “relink to selected” in MC 6. You might have to outline some steps since I’m pretty new to AVID still.

So this will work even if the name of the MXF is different? What if the Reel and Tape are not the same?

To simplify. What I’m trying to do is just replace one MXF with another one. Is this doable? For instance premiere has a “replace footage” function available for any clip. Final Cut Pro will let you relink media to any file even a file of different length. For both those NLE’s all sequences with that clip update. For instance if I had a lower 3rd in multiple sequences but the client wanted it changed. By swapping that one clip with a revised one all sequences automatically point to it.

Does avid have this kind of flexibility with it’s MXF’s?

OSX 10.8.5
Equipment: 2.8 ghz 8 core Intal Mac Pro 3,1 Early 2008, 20 gig of ram
Aps: Adobe CC , FCP Suite, Avid Media Composer

[Reuben Fink]

Premiere has notoriously bad XML output. It does not work well with Davinci. You might have more success exporting the xml then importing that same xml into Final Cut Pro (unless you’re on a PC) then export another xml from FCP. This has worked for me at times. If I still have problems then I just export out the entire project as a single file and then import it into Davinci using it’s cut detector. That’s what I had to do on this current project I’m son since all the media was handed to me as AVCHD files which is not supported in Resolve. So far that’s been the easiest route.

OSX 10.8.5
Equipment: 2.8 ghz 8 core Intal Mac Pro 3,1 Early 2008, 20 gig of ram
Aps: Adobe CC , FCP Suite, Avid Media Composer

[Reuben Fink]

I too use this approach for interviews in PP. This is easier of course in controlled environments. Not with our shoot. In my situation we were doing a multicam shoot at a conference that spanned 2 hours. We are talking at least over 50 clips total. This would have been almost impossible to sync all these cams in adobe in a reasonable time since you have to do them one by one. Plural Eyes did it in 10 minutes. That’s incredible if you think about. That’s without a single clip out of alignment. Then I just turn that sequence into a multicam sequence and we’re good to go. Of course there’s this massive compatibility issue I ran into. In the future if PP and PluralEyes never figured out a fix for XML import I would still choose to use PluralEyes and just round-tripping it through AE first. Which at this point is working fine.