[Trevor Asquerthian]

OK you made me try it….

Alias – link maintained if original file is moved (symlinks lose link)
Symbolic link – does not maintain link if original moved, although if you replace original with same file name in same place then symlink will point to the new file
Hard link – prevents original being deleted, if original is moved then link is maintained

ALIAS:

AMA – no
Import – no
Batch Reimport once original moved – N/A

SYMLINK:

AMA – no
Import – yes
Batch Reimport once original moved – no

HARD LINK:

AMA – no
Import – yes
Batch Reimport once original moved – yes

SYMBOLIC LINK:
ln -s /path/to/originalfile /path/to/link
HARD LINK
ln /path/to/originalfile /path/to/link

[Trevor Asquerthian]

Try symlink?

https://www.lifewire.com/aliases-symbolic-links-hard-links-mac-2260189

[Trevor Asquerthian]

I saw your other post. One possible solution might be to export an AAF from Avid & try & conform to the original masters in Resolve.

You could then see if using Resolve to transcode solves your issues, or may be able to export an AAF that will link to master files and have Avid batch import…

Good luck, I’m feeling your pain!

[Trevor Asquerthian]

Is this 4K masters transcoded to HD?

[Trevor Asquerthian]

In the very small world of freelancing in London for 30 years, from tape through Avid, Lightworks, Sony Xpri, Quantel & Adobe, I can count the number of fcpx jobs I’ve been offered on one finger .

That’s an infinite number more than the Resolve jobs I’ve been offered, mind, and I’ve used Resolve pretty much weekly over the past few years. Plus I really like bits if FCPx but there is zero call for it, from clients, in my market

[Trevor Asquerthian]

This is a great post to give to assistants to show them how to group multiple VandA sources properly.

I can’t a solution to the question, sadly, but supergrouper might help streamline your workflow (I think there’s an alternative to it too but I can’t find it at the mo).

You should absolutely post this in the Avid.com forums and direct it to Marianna as it’s a concise description of sync/grouping work that loads of assistants/editors are dealing with.

You are also more likely to get an informed answer there than here.

The newer NLEs have better approaches (multigroup as editable timeline / use of more than mono audio tracks) but editing with properly set up avid groups still better for me.

[Trevor Asquerthian]

Are you sure it’s ‘mixed down’ and not just a ‘stereo’ clip in the timeline?

Resolve defaults to making timeline tracks stereo but renders the audio as op-atom seperate audio files for each source track.

So you may be able to just modify the source clips or right click on a timeline and ‘split to mono’ on your current files

[Trevor Asquerthian]

Create a multichannel sequence with relevant sub mixes e.g. Mono VO/Dx Mono Nats Stereo FX Stereo Music

Route time line tracks direct to relevant sub mix

Route submix outputs (e.g. DX to A3, nats to A4)

When exporting make it a multichannel output.

Once your sequence is working the way you want it you can use it as a template. Advantage is you can have compressor on DX etc.

I do this all the time with A1&2=mix and 3 x stereo splits for DX/FX/MX stems. Easier than Avid (which has no submixes but does have a multichannel mixdown option).

[Trevor Asquerthian]

You’d need disembedders to > 4 channels, only 4 analogue outs on Nitris DX. I think there’s 8 channels on the AES connector but you’d need the AES lead & DACs.

[Trevor Asquerthian]

What track are you inputting VO on? What do you have monitoring set to? What do you have audio pass through set to?

Although if you hear it during punch in and see levels moving when stopped then those settings may be moot