[Ben Insler]

did you ever figure this out? I’d love to be able to read a layer/comp start timecode. Thanks!

[Ben Insler]

Thanks Marc,

Good suggestions, but this workflow doesn’t have to do with a syncing issue. I’m concerned with making a set of burn-in and clean media that can be swapped so that I can choose, when making a screener, whether or not to include the burn-in information.

The filenames are identical for the DNx36and DNx115, so there is a set of each group of media. The filenames are as follows for each set:

A001C001_131010_L2Q2.mxf
A001C002_131010_L2Q2.mxf
…

I’ve since discovered that rendering each set of dailies from Resolve as DNxHD QuickTimes solves the problem somewhat. I make two sets of identically named QuickTimes (named from the source filename) and then fast import them both into Avid, one set at a time. I can then reconnect my master clips to either resolution without a problem. When these QuickTimes are imported, the MXFs created by Avid are given a unique filename rather than the same filename as is the case with the Resolve generated MXFs. It thus appears that the error I was running into is a result of the master clip finding a mismatched resolution of the same filename when the media is swapped. It seems that we are not allowed to swap MXFs of different resolution with the same name within the Avid MediaFiles folder – it causes master clip and database confusion.

While this QuickTime approach works somewhat, I have to reconnect media in this case – I can’t simply swap media and have everything online when opening my project. This is unfortunate, and I’m still convinced there is a workflow that will allow this… somewhere.

[Ben Insler]

Just ran into this problem and got routed here after searching online. I really haven’t found a way to predictably reproduce this bug, but here’s what I’ve been able to figure out:

MC 7.0.2
1. Assuming you have bins organized in folders, roll open a few folders by clicking on their disclosure arrow.
2. Open a bin from within one of the top folders – by top I mean physically higher in the list on screen than lower.
3. With the bin open, start rolling some folders closed. I’ve found this bug to present itself most often when folders being closed are listed BELOW the folder containing my opened bin.
4. Watch as you roll each folder closed. At one point or another, you will notice the open bin disappear from its correct folder. When it does, roll open the folder you most recently closed. Your bin – still open – is now in that folder.

This is a HUGE pain. It means you can’t navigate your bin structure with any bins open for fear of your project becoming disorganized.

I’m submitting this on the Avid forums as a bug, but does anyone have any connections at Avid to submit this to directly? Or, of course, if it’s user error, please teach me the ways.

[Ben Insler]

Well, I have to say that I thought Matchback might help out but didn’t really know what it did so I never tried it. It actually didn’t change a thing, but I appreciate the idea. And the TC Window and Record monitor TC are great suggestions for tracking time, but what about doing actual editorial math? I find it frustrating that in my current 720 project (and granted it’s a test project), I can’t think in blocks of 24 since the TC math is done on a timebase of 30, meaning that I can’t type +12 and know I’m rolling an edit by 1/2 a second, etc.

I’d really love to understand the Avid workflow (coming from FCP). If you want to cut a 23.967 project, do you always use 1080p, even if it’s shot in 720? What’s the standard practice for broadcast/motion pictures – I can’t imagine it’s the hoop jumping that we’re doing here.

Thanks again!

Ben

[Ben Insler]

Thanks Michael – I’m trying what you’ve suggested and I’m getting the following error when I try to copy the start TC into TC24:

“No modifiable entries in column “TC24”

I can’t type anything in the TC24 column either.

Any thoughts?

[Ben Insler]

Grabbed this from the App Store terms and conditions.

Looks like you can put it on 5 machines. Just don’t use it to edit professionally. Doh.

[Ben Insler]

Trash prefs?

B

[Ben Insler]

I believe – though I’m not 100% sure – that the FCP audio filters consist of the set that are only bundled with FCP. The Apple filters are either bundled with the OS or QT Pro. I honestly can’t remember if there is any performance benefit (native RT vs Rendering) with the FCP filter set, but you can figure that out with a bit of playing around.

Ben

[Ben Insler]

[Ben Holmes] “FCPX 1.0 “It will not be ready for professional use” says Larry Jordan

Now that’s what I call a “jawdropper”!
”

Sounds like an extremely measured comment, designed to temper expectations. As he says, Apple have a terrible track record with 1.0 releases”

Is it me, or is Pro IN the name of the software?! We’ll see what happens, but I feel like it’s a bit of a tease to announce a major release, one that may or may not force us to relearn how to understand and design entirely new workflow, just to have the actual release be a feature-limited preview version of what’s to come when the software is actually ready in 6-12 months. And if that’s the case, what’s the point of all the secrecy? The software will be released, the secrets revealed to customers and competitors alike, and the balloon deflated because we can’t use what we now know is supposed to be there.

I’m also a little bit uncomfortable about the talk of this being a 1.0 release. I would have expected it to be a 10.0 release, and worry that if FC?X is really so dramatically different from FCP 7 to warrant a 1.0 definition, then FC?X is really a new package entirely (which I guess is what was announced at the Supermeet, but I at least imagined that Apple wouldn’t want users to learn a new release from scratch). That would be unfortunately for industry pros that have spent years learning to work with FCP extremely efficiently. If I was forced to learn a new editing package as FCP 7 disappears, I’d rather go AVID and still be able to work while FC?X still figures out what it really wants to be.

Of course… here’s to hoping it’s amazing!

B

[Ben Insler]

Tried the method you suggested – same outcome. Audio reconnect returned the same errors. Here’s what I tried.

Cleaned up the project so that it contains only the media and my latest sequence. Here are all the approaches I tested:

-Change sequence settings to 24p easy setup before reconnecting
-Change sequence settings to match low res offline media settings before reconnecting
-Media manage project to offline 24p easy setup before reconnecting
-Media manage project to offline low res offline media settings before reconnecting

I have noticed that I was incorrect earlier regarding the sequence audio setup. The sequence is set to 48k 16bit, where the source audio is recorded at 48k 24bit. I know this shouldn’t be a problem, but could it be causing any issues at all?

Also, not to change the subject, but I’ve practiced staying away from journaled drives. They have cause me many headaches with multicam clip sync, and I assumed the situation could be the same when merging dual system sync sound with picture. But maybe not…

Ben