Back when 'film' was the only medium available for the capture and preservation of moving images, film editors would physically 'cut' and splice a work print.
Once complete, it would be necessary to 'conform' the master negative to match the editing decisions from the work print.
But it became more involved when 'dissolves' (or any transitions for that matter) were to be included.
I'm fairly certain they used an 'A' and a 'B' roll approach, with each reel containing 'alternating shots', (opaque film in between) - so that extra (overlapping) frames were available for optically printing the transitions onto new film stock.....
Enter iClone - and a 'similar' situation can occur.
That is, you can have your shots all laid out 'on the time line', and as the 'movie' is played, the various cameras 'cut' exactly where needed. So far - so good.
So you render out your 'masterpiece', place it into a non linear editor and synchronize to your master audio - fine.
But now you decide you'd like to include quite a few *transitions* .... - however, since you only have a 'cut' version sitting on your time-line, you don't have the extra overlapping frames necessary to create your transitions ....
There must be a clever way to overcome this.
Any 'editors' come up against this?
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Please be patient with me ..... I don't always 'get it' the first time 'round - not even the 2nd time! :( - yikes! ...
● MSI GT72VR Laptop, i7 7700HQ 4-Core 3.8 GHz 16GB RAM; Nvidia 1070, 8GB Vram ● iClone-7.93 ● 3DXChange Pipeline 7.81 ● CC-3 Pipeline 3.44 ● Live Face ● HeadShot ● Brekel Pro-Body ● Popcorn FX ● iRAY ● Kinect V2 ● DaVinci Resolve17 ● Mixcraft 8.1