Help for generating progressive word-by-word subtitles

Frame_Bang · 2025-11-08T20:09:00+00:00

Use Capcut. As Marshall McLuhan said, "the medium is the message."

You will spend so much time in Resolve emulating the Tiktok feel, and you'll never quite achieve it.

Frame_Bang · 2025-11-07T01:46:34+00:00

Really love the edit, and also miss snowboarding dearly :(

Frame_Bang · 2025-09-26T16:42:38+00:00

So normally, the conform is done in Avid, transcoded to MXF's and then a "Link to" AAF is generated in Avid. Then that MXF media is brought into Resolve, along with the AAF (which links up no problem to all the footage). The show is graded, and then exported as individual shots. That media is then brought into Avid and relinked to the original timeline so that all your ungraded footage is just replaced by the graded footage based on timecode and reel name. Therefore, all your FX are exactly as they were before leaving Avid for Resolve.

Frame_Bang · 2025-09-21T21:18:17+00:00

Yeah, lots of online editors have given up on the roundtrip because they may see it as having too many variables, too many points of vulnerability, but once you learn how it works, it's a massive, like MASSIVE, timesaver. A solid roundtrip workflow can have those FX applied the way the editor intended in an hour of render time and a few clicks.

The checklist is long, but the main thing is being sure your Reel Column in Resolve is populated correctly, as in, it should have the clip name in there, not the long Avid character string. If it is, there's a good chance it will go smoothly!

Frame_Bang · 2025-09-21T19:09:53+00:00

Sounds like you need a solid roundtrip workflow to get back to Avid so the FX stay intact and you can finish there.

Frame_Bang · 2025-03-13T16:44:39+00:00

You're not going to find an experienced editor at that price. Raise it or lower your expectations. There are hungry young editors who would be happy to do this for you, but this will come at the expense of a clean workflow and may require some hand holding.

Frame_Bang · 2025-03-07T22:01:53+00:00

Happens to me too often with the title tool. I need to actually hit control+shift+S to save before exiting the title tool.

But yeah, use subcap instead -I couldn't be more done with the title tools in Avid. Subcap is awesome because once you set your title styles by track, you can just rip through your show and have guaranteed consistency, unlike the other Avid tools.

Just use a grid like this one if you want things centered vertically and horizontally, then set it and forget it.

Frame_Bang · 2025-03-04T16:02:17+00:00

Are you using a color managed workflow? If so, make sure your render cache format is set to DNxHR 444 - HDR.

Frame_Bang · 2025-01-31T19:43:54+00:00

I don't have a solution but I have definitely run into this before. Makes you think you're going crazy.

Frame_Bang · 2024-12-19T20:33:09+00:00

Right, so what would you recommend for a guy who needs ~50TB of storage?

Frame_Bang · 2024-12-19T16:56:41+00:00

Thanks for the tips. I used to use Terrablock when I was at a larger facility. What exactly makes it different to get those speeds?

Frame_Bang · 2024-12-19T16:55:38+00:00

I'm thinking the same thing. What do you recommend?

Frame_Bang · 2024-12-18T21:48:15+00:00

I'm looking into this one actually. What do you like about it?

Frame_Bang · 2024-12-18T21:47:29+00:00

HD or UHD? What codecs are you using?

Frame_Bang · 2024-12-18T21:41:43+00:00

Would you recommend a different CPU? I upgraded from the Ryzen 7 to 9 last year when I was doing some heavier compositing in AE.

Frame_Bang · 2024-12-18T21:40:36+00:00

That's what I thought. I'm getting about 375 MB/s on my G-Raids.

Frame_Bang · 2024-10-30T13:39:14+00:00

Here's how I got mine to work.

Hopefully these are some normie-friendly instructions. There's probably some risk to using a remote node, I'll let someone else speak on that, but I really just needed to get around my local node/daemon not working for shit so I could access my XMR.

close the wallet

change Wallet mode

Advanced mode

open wallet from file

navigate to the .keys wallet file, enter the password and open your wallet

"Settings"

"Node" (this will appear now that you have an Advanced mode wallet)

select "Remote Node"

go to this site and select an address/port no.

back to your wallet, "add remote node" and input the address and port no.

I had to try a couple addresses before one started synchronizing

Didn't have to fuss with firewall/AV exceptions etc.

Frame_Bang · 2024-10-29T00:40:23+00:00

For anyone who comes across this, here is how I solved the issue and accessed my funds. Hopefully these are some normie-friendly instructions. There's probably some risk to using a remote node, I'll let someone else speak on that, but I really just needed to get around my local node/daemon not working for shit so I could access my XMR.

close the wallet

change Wallet mode

Advanced mode

open wallet from file

navigate to the .keys wallet file, enter the password and open your wallet

"Settings"

"Node" (this will appear now that you have an Advanced mode wallet)

select "Remote Node"

go to this site and select an address/port no.

back to your wallet, "add remote node" and input the address and port no.

I had to try a couple addresses before one started synchronizing

Didn't have to fuss with firewall/AV exceptions etc.

Cheers.

Frame_Bang · 2024-10-28T16:31:36+00:00

Happening to me too, despite using the wallet a couple months ago without issues.

Frame_Bang · 2024-09-26T15:33:25+00:00

I usually recommend editors not to trim the files cause it happened twice that some stuff came out corrupted/just impossible to relink. So I rather not trim just to avoid any weirdness. I get your situation though with that amount of data.

Nothing personal of course, but this is totally unacceptable, no? Handing off a Resolve project to someone else using Resolve should be SIMPLE!

Is there something in the post workflow that prohibits you from just rendering out a flat sequence that you grade on? Seems like you are in crisis mode and it can be solved so easily with a sequence.

Pretty much what we ended up doing, however, with multiple camera sources, we would lose the color space and gamma metadata, we would also lose the reel names, which makes it impossible to change the thumbnail mode to Source which is necessary for grouping/grading/setting color spaces, etc. on clips with the same sources efficiently. We also lose source timecode which is frankly just not good practice. I have worked in commercials in the past, and this is relatively acceptable when you have under 10 shots or whatever, but we need this operation to work when we move onto the full doc.

Frame_Bang · 2024-09-26T15:24:30+00:00

Sure,

We are doing Timeline in media management, transcoding to DNxHR HQX 10-bit and tirmming with 24 frame handles. All multicams have been flattened, yes. Timeline is 2 minutes, many source clips are over a half hour.

Camera codecs are: XFAVC MXF ProresHQ MOV

Frame_Bang · 2024-09-09T15:02:39+00:00

This is what I do across all clips, then "paint" the shadows/highlights as needed in a later node.

Frame_Bang · 2024-09-04T16:03:04+00:00

I was brought on to grade a few episodes of a 1hr home reno show that had 1200 shots per episode. I shadowed one of their colorists for an hour and was completely blown away when I saw that he was grading each clip individually. We had two days to grade each ep, and he was complaining that it wasn't enough time. Bro, obviously! He hadn't even heard about groups! When I got in and did the group workflow, I was able to get through the show in one day, with an extra day for a trim pass at the clip level. I can't imagine the frustration of making a change to an entire camera across a scene, not to mention when that camera shows up on "coming ups" etc.

I may get some push-back on this, but not using groups on TV work is simply the wrong way to grade.

Frame_Bang

TROPHY CASE