Glad you liked it! Here's the longer one: kzbin.info/www/bejne/iYS8gWZrnMmYY9U

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

@@aagutts thanks glad you liked it!

@alejandro37-p5h honestly no experience with that workflow, I always go Avid to Pro Tools for audio and just bring finished mix into Resolve. In *theory* would expect the AAF workflow to work for audio but haven't ever tried it. Maybe I will and report back

@@filmprofmark worked! used reel assist media name! Should i stick with resolve for personal projects? Because sending everything to avid is a hasse;.

@alejandro37-p5h i always think the best workflow is the one you're comfortable with, so sure if that's good for you. I personally don't like Resolve's editor but don't mind moving stuff between programs so that's why I use the workflow I do

@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: kzbin.info/www/bejne/nGPQg4eCj62ho5I 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. kzbin.info/www/bejne/pmixk2mErp6Si8U 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? kzbin.info/www/bejne/lWG8XqODasyfjs0

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: kzbin.info/www/bejne/iYS8gWZrnMmYY9U. (look ~22 minutes in) Good luck and hope that helps!

@@filmprofmark great! thanks

That's pretty vague/broad, can you give more specifics of what the problem is?

@snehithpamarathi7364 Just posted, hope it's helpful in what you were looking for: kzbin.info/www/bejne/e6KuaGB-j6qYeLM

@@filmprofmark thank you so much sir 🙏 this is exactly what i am looking for. I found the below in avid forums.. i absolutely didnot understand it. your way is way simple and straight forward. keep making avid tuts available for everyone. // Launch MC and import or open your old user settings. Now open the settings window and activate the User Tab. (ignore the Site tab we don't use that) Now drag your keyboard setting out to the site setting panel and let go. You now have your keyboard layout as a site setting. All new user settings will adopt that keybaord layout. //

Yep precisely that issue is covered in another tutorial, start here: kzbin.info/www/bejne/mH3QaIqdpaerY7csi=OXsZ4TlggrUeSa02&t=956 - easiest short version is bring in your original footage to the Resolve project before importing the sequence,

Yeah that's one of several alternate approaches to the problem, and if you're staying in Resolve the whole time that one would probably be the recommendation. If you're bringing the footage into Avid to edit and then want to go back to Resolve to color grade, I think that workflow actually creates a lot more headaches in terms of reconnecting to the right clips in both pieces of software. So really it's a question of what your overall post workflow looks like. Of course as I mentioned in the video the best solution is just to check your camera settings when shooting and make sure everything's at the correct framerate :-)

Glad it helped!

Hi - okay so I'll give you my thoughts, but I honestly haven't done this myself so I could be wrong, and I'll also note I'm certainly not an expert on KZbin or how it works behind the scenes. This actually is kind of an interesting question and maybe I'll do a short tutorial experimenting with options and seeing what happens. Anyhow, those caveats aside, my *understanding* is that a properly exported HDR video uploaded to YT will play correctly in HDR, and it'll do its best job possible making an SDR version that will look as close as possible to the original when viewed on an SDR screen (obviously it won't look the same since you're in a different color space / gamut). So the important thing, if that understanding is accurate, is just to make sure your original file is properly encoded for YT to read and process correctly. From what I've read, I believe YT's HDR uses HLG rather than PQ, so try to export in that form, and with Rec.2020 (or may display as 2100 depending on where you're looking) color space. As to what additional metadata you'd include in the file to "produce the best results," I'm not sure what that would be or how you'd encode it. If you're talking about Dolby Vision or HDR 10+ metadata, my advice would be avoid them unless you REALLY know what you're doing, and remember that not all displays can read those so you're more likely to get something showing up wrong than just using standard HDR10 (again, unless you actually know what you're doing with those formats and how to properly encode to play back on displays not equipped for them). Hope that helps somewhat. Honestly your best bet if you're really concerned (and what I would do for a tutorial on this) would be just export several different versions/formats, upload all to YT unlisted, and then view those YT videos on several different displays (both SDR and HDR) and see how they compare. (and from what I've heard, though haven't seen myself so can't confirm, the HDR version takes awhile to process so don't expect to view them right away after uploading).

@@filmprofmark Hey, thanks so much for getting back to me. I've tried making several versions like you said, and I think you are right, that if I just export the HDR version correctly, the SDR version should look correct as well. Yeah, this whole HDR business is a bit confusing and there is no one page that really addresses the issues .....definitely be a good idea to make a KZbin video about it I think. In the export section of Adobe Premiere, there is an Effects tab where you can choose things like Tone Mapping and SDR conform. Those were options I was thinking might help to make the video viewable on an SDR screen as well.

Not familiar with how it was done on Symphony so don't know if this is what you're looking for, but you can always right-click on an audio track in your sequence and select which source audio track you want it to use for that clip. This allows you to switch audio and video each independently. If you're meaning that when you switch angles/shots on the video side you want the source audio track to change along with it, go into multicam edit mode on your sequence (cmd-shift-M on Mac), then on the Source monitor click on the icon at the top left and select "Audio Follows Video."

I understand the issue (and have worked a lot with FS7 log footage - those were our intermediate class workhorses for several years) but don't have such a LUT, and off the top of my head don't know where to find one. This is one of those things where your desire/request makes perfect sense, but just is something I've never bothered with - in fact I don't know if I've ever used a LUT *in Avid*. My own somewhat unusual situation as a professor (rather than working with "clients" per se) is that everyone to whom I'm showing things or sending anything is either a film student or works in film, and is perfectly fine looking at log footage during the edit phase until we get to color grading, at which point I always end up in Resolve. But I'd imagine someone somewhere out there has one.... Also FWIW at this point I do most of my transcoding for Avid in Resolve, and just throw on a quick LUT while I'm in there, so again just haven't really dealt with it in Avid.

@@filmprofmark Thanks for the response. I also heard I could make one (To correct the ISO differences) in Resolve and import it to Avid..but I can't find it online. Talking about Resolve, do you know of a way to do this (EI correction-able to read the Sony data) in Davinci? I usually adjust by eye-moving the dial in HDR Grade > Global > Exposure to the left about a point or so. Not great or accurate. My lighting/camera work suffers a lot if the calculated exposure in the set is not visible in Avid or Davinci. In other words, I only see the exact original planned exposure in Catalyst Browse. Regarding workflow, I may soon start by creating the Avid project, naming folders and bins. Quitting Avid. Linking (Importing) all clips with no particular order in Davinci, throwing a LUT or two, exporting DNxHR LB directly to Avid MediaFiles....importing .mndb to Avid with clips only, reorganizing them in Avid-edit all, go back to Davinci CC all-return to Avid for final edit and export. Is that a good plan? Thanks again

You should be able to create and export your own LUTs (then import into Avid or wherever you want), but as to the specific thing you're describing to read the Sony data I don't know of one. I always used the FS7 in cinema mode where the EI is locked to its native setting so never messed with this. Regardless, I don't think the EI setting is part of the file metadata that Avid can read (no idea if this is on the side of the metadata implementation, or Avid, though probably the latter since you said you have another program that CAN read it). Have you tried looking at the clip metadata in Resolve and seeing if you can deal with it there? I've never tried for log footage with all the data "baked in", but I know if you have RAW clips you can see what metadata was recorded with it and alter that (ISO, WB, etc.) in Resolve (I vaguely recall seeing you *can* do this in Avid but again haven't done much coloring in Avid so not a workflow with which I'm familiar). Re your workflow plan, yes I highly recommend doing Avid transcodes in Resolve - it's faster, gives better progress updates, and easy to throw on a LUT before transcoding. I have a detailed workflow tutorial on this, see kzbin.info/www/bejne/mH3QaIqdpaerY7c - but make sure to turn on the "assist using reel names" option first to avoid potential headaches in going back to Resolve, as explained in a follow-up tutorial I just posted: kzbin.info/www/bejne/lZOcoKykobiGaK8

EI should stand for "Exposure Index" on Sony cameras. And no matter what you set your EI to, your camera always record on its native ISO. If the native ISO is 2000 then it always records at ISO 2000 no matter what you set your EI on your camera. Therefore, setting the correct EI info in post is crucial, otherwise you might get a couple stops of over-exposed or under-exposed footage. If you recorded in RAW, you should be able to adjust the ISO in post in Resolve. Go to the Color page, there is a Camera RAW tool. Make sure you've selected the EI you set to when filming on set. Then you can export them as proxies for AVID MC later.

Good call on time stamps, I try to remember to do that on longer videos but often forget, just went back and added them to this one! Thanks also for tip on what manual color transformation you found the most successful. I'll be honest I basically made this vid to provide the bare minimum information to not get something that looks disastrous, and called it a day with that. I pretty much never do color grading or interpretations within Avid so haven't played with it a lot trying to find the best options. I'm a big Avid fan for creative editing, but am also pretty old-school in thinking of editing / grading / sound design / effects all as separate processes, and use different software that I prefer for each. Avid is (to my mind) the best out there for creative editing and organization, but less capable and/or efficient in those other areas, so when in Avid I only do the bare minimum of those I need to for the creative edit, then move to other software for things like grading (Resolve), sound (Pro Tools), or effects (After Effects). (I also see the value of the Smoke/Flame finishing workflow but that's more specialized and not as accessible so we don't cover that as a class workflow).

@@filmprofmark I hear you; pretty old school here too but I do both online/grading and creative offline, within UK terrestrial broadcast TV; and we still use Avid Symphony for finishing; sometimes if we're lucky we use Baselight Editions plug in, with it. TBH for most telly Symphony though ancient is still workable and it is very quick to use too. For fancy grading I do Resolve as well. All my career as an offline editor, has been Avid Media Composer though, I don't take work in other NLEs, mainly because here they pay less. I'm no fancy Colorist on features but I'm pretty OCD about it and this was tearing my hair out - so thank you again. I'm an old sound guy and used Pro Tools a lot too; now Fairlight is pretty powerful, more in some ways, for a lot less. I'm not really a graphics guy but BCC, is a goto tool in all finishing here, as well as editing, especially now it has Mocha - Avid's tracking is prehistoric. Used to love AE before sub; now Fusion comes in handy too. My own grading/editing/online suite is centred around Avid MC with BCC and Baselight Editions, and Resolve Studio for 95% of core work. Thanks for your reply, All the best👍

@CUTproductionsLtd interesting. Haven't played with Boris in forever will give it a look. Thanks for the tips!

Fingers crossed!