[Sam Stephan]

Shane– my colorist is early on in his career too and hasn’t worked with the Avid workflow much in the past so it was left up to me to make a plan for the workflow based on what I could find around online. I thought that one of the relink, decompose, or batch import functions would end up doing what I needed, but apparently I was wrong. This is my first time doing the Avid-Resolve roundtrip too, so you only make this mistake once, I guess.

My timewarp speed effects were keyframed very precisely, which is why I never wanted to have my colorist try to replicate them in Resolve. And from what I’ve been told by other people, there was a way to still render out the speed effects in Avid for the final export.

Should I have replaced my proxies with the R3D files, rendered the speed effects/fluidmorph, then deliver that AAF and reference vid to the colorist?

[Shane Ross] Not sure I get this. How can you stretch out the clips and maintain the total running time, and look of the piece? Did the colorist get the timeline, but in the sections where you sped it up, suddenly they had a realllllllllly long clip to grade, and then send back? Sorry, this really confused me.

That’s right. The timeline I delivered to him didn’t have the same running time as the picture-lock. Like I said, I was hoping that those few extra-long clips would just populate the missing clips in the picture-locked timeline by following source TC.

So the choices now are to either manually aligning and replacing the proxies with the colored footage, clip-by-clip, or have the colorist copy all his corrections over to a new AAF from my picture-lock? Something else?