Відео

@BismaLive 23.976/29.97 = 0.8 so need to play back at 80% to return to normal (assuming you shot at 29.97 offspeed while recording in 23.976)

Thanks for sharing and glad the process worked. I actually think generally Avid's error messages (whern they're not just a code number) can be pretty helpful but this one was obscure and took some digging.

I'm with you that this process seems pretty awkward... though it *works* and there's always something to be said for that. Also I should note I personally never use the "relink sequence to AMA" workflow since I always finish in Resolve, so it may be there's an easier way to do this and I just don't know it. (I suspect for instance if you exported an AAF, brought it into Resolve and had it autorelink to the original media, then re-exported the AAF back into Avid that would do the trick as well... but haven't tried.) The good and bad about Avid is the longevity and stability - they're generally careful not to break something that WAS working, which is great. But the downside is sometimes that means they're slow or resistant to updating some processes if they're worried it might make some other thing not work, or not work as expected. My *guess* on this (could be wrong, I'm speculating) is that it's a less common workflow reconnecting on the same system to original AMA files and so not something that's been a priority. But who knows. On the flip side, I have a lot of students working in Premiere where this stuff theoretically runs much more simply... except every time they release a new update a different part of sequence export/import/relinking stops working. I'd LOVE to have the best of both worlds and wish Avid would improve some of these older workflows. But in the reality we actually have, I prefer the thing where I know how to do it and it always works and always has ever since AMA was introduced, to the one where with every year's new release of Premiere software I have to find the new bugs/problems and figure out the appropriate workarounds.

If that works for you, great! Different strokes for different folks. Personally I find their editor is not as efficient or robust as I'm used to with Avid so really don't like actually DOING my editing in there... but I do use it for color grading where it shines. Most of my students choose to edit in Premiere and then color grade in Resolve, but occasionally some will actually cut in there.

@@gabvsky you're welcome

@RussLamb no, Avid keeps all that information. But when transcoding in Resolve make sure in Reolsve settings to check the box "assist using reel names" beforehand or you might have problems exporting AAF or EDL if you've changed names in Avid, because in that case it only has the clip name to go off of

@ do you mean to select “assist using reel names” when I bring it back into davinci to conform?

@RussLamb no when you first transcode (IF you're doing transcoding for Avid in Resolve. If you're transcoding in Avid then going to Resolve for color grading it shouldn't matter)

@ thanks!

Good suggestion. I actually want to dive more deeply into HDR and HDR settings in general so after I have a chance to do that will post some more about it. Right now everything I'm delivering (and having students turn in) is still SDR but we know HDR is coming so trying to get prepared for that and all the questions it brings.

Thanks so much for considering it ​@@filmprofmark

So unfortunately if you WERE reconnecting to transcoded media it's easier, just make sure the files are in the right place on a connected drive. It's relinking to ORIGINAL media where you have to open the bins, and yes in my experience you really have to do that. (if someone has a better way I'm all ears!). If the necessary footage is split across a ton of bins, another option would be to copy all the clips into one giant bin for use in the relink. Depending on organization that may not ultimately save time. But for instance if you have the same clips in multiple places and some of them have a lot of stuff in it (for instance maybe one folder for all the stuff from each day) then you can just have those open and relink, then those same clips will be relinked in every bin/sequence they appear in). Finally, I've never done this but theoretically you COULD relink in stages, like open a few bins and relink the sequence that way, then close those, open others, relink then, etc. Can't speak to actual experience with this but I believe it would work. (BTW you don't have to highlight just the clips that are in the sequence, you can select ALL the clips in the bin, and it will relink whatever it finds matches for)

@@filmprofmark Thank you so much!

@callmekrautboy I haven't ordered 2nd edition, still working our way thru Frosthaven so no idea when I'd get to it. But if there were new organizer options I might do a follow up vid, esp if there's some interest in one

@@SimonAbrams you're welcome

@@vanyogeo you're welcome

Hey good question I should've mentioned when I did it. At this point A1/A2 of source were pointed to A3/A4 of timeline. I just hit the A3/A4 toggles (- and = on my keyboard) which turned OFF those tracks on the sequence, and then because they were off the source tracks auto-remap to available ACTIVE tracks (in this case A1/A2), then hit A3/A4 toggles again to turn those tracks back on. So literally just quickly hit those two buttons together twice in a row. This is a good example of knowledge that's not *necessary* to editing, but by knowing the keyboard shortcuts AND how Avid works with its automapping, can do this basically instantly without having to go to the mouse. So an efficiency shortcut.

@@filmprofmark Thanks :)

Glad you liked it! Here's the longer one: ua-cam.com/video/SSYP35gde-s/v-deo.html

@HomeFries94 thanks for the added information and glad you found an organizer you're happy with!

@@aagutts thanks glad you liked it!

@tylerfranta it definitely has its flaws. On the other hand still way faster and more flexible for narrative editing than Premiere so that's why people stick with it

@@videobyredjade you're welcome

Thank you! This made my day knowing one of my vids helped someone get on the path to where they wanted to end up!

@ae35unit yeah when I teach editing we spend most of the time looking at rough cuts and talking about how the story can be reshaped, strengthened, clarified, etc. That's what editing is really about is the final phase of scriptwriting

Done! Video here: ua-cam.com/video/f2mRTLZHnm0/v-deo.html Hope that helps!

@ashishsomkuwar4700 glad it worked for you

Yeah FWIW I put up this tutorial since I had some students getting confused by this using footage from their phones, but I still have personally been exporting everything in SDR (other than some test clips) and not using the HDR since many people don't have it or have it set right, whereas SDR pretty much uniformly available and you know how it will look.

@@filmprofmark Grazie, gentilissimo. Sarà difficile si imponga l'HDR con facilità solo per il fatto che ci vuole anche il Player che supporti tale formato. Se hai tempo guarda questo video fatto da un mio amico, bisogna impostare il monitor o TV in HDR altrimenti risulta leggibile solo in 360p. ua-cam.com/video/p7Nb6Ny9_Uc/v-deo.html quando l'ho visto sono rimasto estasiato ma pensando alle difficoltà di piena compatibilità nella condivisione mi sono fermato nei miei sogni, grazie di tutto, ciao.

Thanks, glad it helped!

Good note, should've included this - yes, they are attached to your user profile and you can have them all open to your choice of views by default. Open your settings, go to the user tab, and choose the "Bin" settings. On the bottom of this group of settings you'll see an option for "Set Default Bin View." Choose the one you want, whether one of the existing ones or another you've created. Save settings. I *think* you have to close the project and relaunch it for this to take effect but in any case next time you come in all the bins should open up in that view to start.

@@filmprofmark Hi , thanks for your reply. I did exactly like you mentioned but it again goes back to basic/untitled. I am using MC ultimate 2024.6 version. I checked in the Bin settings just to see if it is also changed to basic but no it shows my own created preset there 😕 I am confused now. My preset can only be seen in that one particular project. Project change and it goes back to basic. Is this a bug in avid ?

Just posted a video about this, or at least how it's *supposed* to work. Maybe a bug if it can only be seen in one project for you? ua-cam.com/video/_0Y-pM5glXk/v-deo.html

To make sure I'm understanding: you had sequence A. You duplicated it into (or edited it into) sequence B. Now you're in sequence B in the record (right) side of Composer, hit match frame and want what it loads in the Source (left) side to NOT be the original clip, but instead sequence A? I'm not aware of any way to do that. There may be some nuances with group clips in terms of whether "match frame" loads up the original starting clip or the grouped clip, but as far as sequences I don't think the new sequence maintains any idea of or connection with any priori sequences the stuff was in before. If you knew ahead of time you were going to need to do this, there's probably a way to do a jerry-rigged workaround, like grouping the whole sequence A first and then editing that grouped clip into sequence B, then when you hit match frame it will bring up the group clip (that's really sequence A). But that would be kind of complicated to do right and sounds like probably more trouble than it's worth. My (admittedly multiple step) suggestion if you want to find where in sequence A this part of sequence B came from would be to do the normal match frame on sequence B (so the original clip shows up in Source side), then load sequence A into the Record side, then from the Source side hit "reverse match frame" which will show you where *in sequence A* that same moment shows up. So a bit obnoxious but would accomplish the goal of finding the moment in sequence A that matched that moment in sequence B. Or if I've completely misinterpreted the question sorry and please clarify! :-)

@@filmprofmark Thanks so much for your response! Kind of you to take the time. I think I figured it out, if I have the original sequence loaded into source monitor and THEN use reverse match frame in record window, it does take me back to the exact spot on the sequence (without loading the clip). This is gonna save me a lot of time! :)

@ellyward7381 glad you got it figured out!

@@GugaGordilho thanks!

@Trigger0x10c glad this got you unstumped :-)

@@Salman1997Yahia thanks

@@arvvee1832 excellent!

@@animesh1234garg you're welcome glad it was of use!

Interesting question. Haven't actually ever tried to do this myself but have a couple suggestions to try. I'm pretty sure you can't modify "set tracks" on a synched clip (combining stuff from multiple sources), that's only for original clips. Obviously you could always just resync and subclip the original media but just use A1 - that's a sort of brute force approach but would work. Somewhat less effort but I think would still work would be to essentially create a "new" clip out of each one. So take one of your clips, put it (and it alone) into a new sequence, delete any audio tracks you don't want from that sequence (or never edit them in in the first place), then hit "AutoSync" on that sequence and you'd have the same clip but with only A1 track. Still tedious since you'd have to partially do each clip individually, but could expedite it for instance by putting them all into one sequence (create sequence, select all the clips, and hit "B" to put them all into the sequence), delete extra audio track, then jump clip to clip (FF then "T") subclipping, then just AutoSync each. Still a lot of button presses but could go very quickly since all those are (or can be) keyboard shortcuts. Ultimately my main question is "why". I didn't want this to be one of those "instead of the question you asked I'll tell you what you should do instead" so gave solutions to what you actually asked above, but it does seem to me in most scenarios a giant waste of time to do all this work to get another version of the clip when it's very easy to just not edit in the other audio tracks when putting a clip into a sequence. So that would be my vote unless there's some very specific reason you need two copies of the original clips with different numbers of audio tracks - just keep the clips you have and edit with them, leaving out everything beyond A1 where you don't want it (assuming sometimes you DO want the other audio clips, otherwise again why bother having two different versions of the clip).

@@filmprofmark Mark, thank you for your long and detailed answer. I'm just a poor dailies operator, the editorial asked me this, they like to edit only with the A1 track (mono MIX), and just in case, if it is important for them, they want match back to master clips with all of the audio tracks. Thanks!

Ah, gotcha. The dreaded "well we may need this at some point and it's no skin off our back to have someone make it"

Not 100% sure, I've never actually done this workflow (confused why you had the finished graded movie in Resolve and then are trying to bring the individual clips back to Avid). But I would suggest something to TRY is to temporarily offline the original Avid-generated transcoded files (just move the folder(s) with those files in them to a different location outside Avid MediaFiles --> MFX) and then try the relink and see if that works? I vaguely recall one time where I was relinking something and it didn't want to relink clips that already had associated media but then making it think the clip was offline did the trick. Hope that helps?

Tried to run this through Google Translate and *seems* like the comment is that the included organizer is the best option? I definitely think it has it's plusses which was why included here, but would argue depending on your specific needs and preferences other options may be better for some. I'm personally glad I got another one that provides more organization than the included insert alone. Now whether it's worth it to someone to pay for another potentially better organizer when the included one is sufficient to play the game is more a question of value, and everyone will have their own calculations there.

@jonregul428 good catch, thanks! If I have a chance to update this will correct that

Paid. Never used the free one, no idea how different it is but I'd guess interface pretty similar and the limitations are in number of tracks or projects?

Ha happy to help

Thanks glad these work for you!

Glad it helped! Pass it along to anyone else you know switching to Avid :-)

I don't know a way to do AutoSync if there are multiple edits. But you can use "group clips" to essentially accomplish the same thing

I agree that Avid transcodes bring in WAY more of the metadata into the MXFs, and have not personally found a way to have all of that included when transcoding in Resolve (though I'm hardly an expert in that program so may just be me). Wish I had better advice but if you really need all the info in the MXFs, I'd say stick to Avid for transcoding (and there's nothing wrong with that!). Since I always end up finishing in Resolve, never had much need for the metadata in the MXFs, as long as I can relink my sequence to the original files fine I'm happy. It would definitely be nice, though, to include more of it in DR transcodes - even if it's not *needed*, there's no downside to having it and it might be helpful. So please share details if you figure this out!

@@filmprofmark Actually, I had to do some digging but I think I found my answer. Testing it out now. In addition to having DR create Reel Name, I need to create an ALE for my DR timeline to merge in Avid. (it's been a while since I did this)

Cool let me know what worked. Definitely the "Reel Name" checkbox is a biggie that frankly should be turned on by default on install. I once accidentally did a round of transcodes with this turned off and it made for a giant pain when reconforming my sequence in Resolve (though lesson learned the hard way and thus not forgotten since).

@@filmprofmark Yep. I've definitely had my share of courses in the "School of Hard Knocks!" (hindsight is 20/20) The ALE worked. Brings in a LOT more information. When comparing the metadata from the ALE from DR to the linked clips in Avid, they vary but I'm assuming this is because Avid labels things differently than DR.

@@filmprofmark HI! What option do you check after the Reel Name?

Wow, cool trick if it works! I'll have to try that next time I'm messing around with media. Personally I've gotten used to labeling them with dates (sticking with the old-school numbered system) but I could see it being very handy to label with text instead. Thanks!

@@TrackItRight yes it worked, super cool trick!

You're welcome!

You're welcome glad it's useful!

Always good to save and back things up in general :-) though I'll say 20+ years using and teaching Avid and have never encountered this particular glitch. Only times I've seen user settings lost or corrupted were due to computer crashes.

Glad it was helpful!

?

Depends specifically what they're asking for. If it's an MP4 you can set the bitrate so match their request. For ProRes or DNx families, the various flavors will have specific bitrates so choose the one that best matches their specs. ProRes 422 is pretty common as it yields VERY high quality but not as massive files as 444

@@filmprofmark Thank you for your answer. I have an older version of avid -not the one you use in this video- and I can't find how to change the overall bitrate (that's festival's definition, they want it at 3 Mbps), only the sound bitrate is placed in sound settings, on export as qt mov window .Is there any other place I sould check or is perhaps another definition used for it on Avid?

Ha well glad to be able to make that happen

a variety of possibilities, one of which is just they're reading the QT gamma differently. But best solution is bypass this entirely by linking to the actual original RED footage in Davinci Resolve instead of outputting a flat version from Avid and losing all the raw data (honestly, what's the point in shooting on a RED camera if you're not gonna take advantage of the full color data?). Export the sequence as an AAF and relink in Resolve, as covered here: ua-cam.com/video/SSYP35gde-s/v-deo.html. (look ~22 minutes in) Good luck and hope that helps!

@@filmprofmark great! thanks