Bill Russell
Forum Replies Created
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You’re right, using the NLE. Thanks. I don’t have Premiere, but neigher has FCP, maybe that will work….. As far as 24p, 23.976 works in DV (and I think the “P” part is simply by virtue of the fact that both fields are the same film frame), so that’s not a problem.
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Thanks Steve. Sigh. I need a DV file. No way around it, huh? Exporting from the project window? Nada? I just read that AE was a tool that could take advantage of advanced mode (which as 2:3:3:2 was designed specifically to avoid the need to invent some of the film frames from mixed-field video frames) allowing the copying the “w” frames without recompressing them. But they didn’t explain how to do it. I’ll see if I can find the link again to post here, not that it would be much help.
Until/if then, how do other people get around it? Is DVFilm Maker the only way on the Windows/PC side?
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Hi there. Just wanna peep that this problem hasn’t gone away. Still alive in latest AXP HD…..
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Thanks for your reply! And thanks for the layered PSD info, that’s good to know.
So well, actually, what you said is normally what I would do… go back and export a PNG. But I don’t have access anymore to the original AE file. I knew there would be an answer, because I can import the PSD in Avid (like I always do) and the resulting transparency in the system is not mixed with the background color. HOWEVER, I have found the solution, and it is simple. Goes like this (for posterity): After using the selection from alpha to isolate the title, I then choose Layer | Matting | Remove Black Matte. Magic, it’s perfect, just like the original.
I have no idea how that works — there is some of the same value black inside the logo, and even streaked across the feather and glow, and that is not removed or changed at all. Pure magic. Anyway, I’m happy.
Thank you and cheers!
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Hi, thank you. Actually, that’s not quite doing it. The feathered parts of the image have the background mixed in when I cut-and-paste with the selection made by CTRL-clicking the alpha channel. Not the true transparency I need back. When I import this image into Avid (alpha inverted) the result is correct there. So I know the transparency can be extracted, I just don’t know how….
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Yes indeedy, it is in the Avid import. I simply opened the AE exported file in Quicktime and looked for the double frames. Nope, they aren’t there. Avid added those frames on import. Quite a number of times, knocking the picture out of sync after only a few seconds. Indeed, as per Michael’s suggestion, I tried an image sequence, and that does not have the double frames. So that’s a workaround.
I see you’re using 5.2.1 too. I think the 5.21 update does not fix the memory allocation error it was intended to fix, and to boot introduces this new bug that you and I are reporting. Seems to have to do with 23.976 projects.
Here’s some random factoids.
– Image sequence imported with correct duration, 22:07.
– Lossless .AVI imported too long, 22:12.
– This difference between the above two is broader than the pullup/pulldown ratio. So, beats me what it corresponds to.
– In After Effects I tried a 24p export instead of 23.976, and the Avid import was same length, 22:12, five frames too long.
– Imported the original file again, but this time I turned off options for converting audio sample rate and bit depth. (Important note — the file I’m importing has *no* audio track), and this time…. the import was *even longer*! at 22:15.
So there ya go. Go figure. Have nice day.
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Hi, thank you. So is my only goal to have levels match on the return trip (which is what I have been doing)? I was worried about loss due to “fewer steps” between 16 and 235, maybe in lossless AE enviroment … versus … not recompressing video when it goes out 709. Anyway, thx
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So, a further look showed me where the new index files were getting written… and none of them in the same subfolders as the media. So I moved the media to the same folders as the index files, then deleted the index files.
Seems Avid Express Pro is happy when DNxHD media is in “Avid MediaFiles/MFX/1” and audio is not in any subdirectory at all, just in “OMFI MediaFiles”.
So there.
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Hi there. Ah, so this is Sony F900 issue, okay. I wondered why continuous timecode across shots was being read as TC breaks. They aren’t really breaks, but the camera is causing a lag or drop or field mismatch or something… sometimes.
Yeah, actually I knew that’s what FCP did — or basically what it did — just from experience. TC can can be off after breaks. I didn’t know that it was because FCP interpolated rather than tracked TC. Interesting. But regardless, at least there is a mode where you can force FCP to capture across breaks; because slate-to-slate, I don’t care if the TC after the break is off. On the Avid, all my logging is useless, Avid doesn’t give me an option to use my logging successfully. I’ll have to do it all again with the captured media.
In answer to your question, no, Avid does not capture across breaks in batch capture, only capturing on the fly, which is what I’m doing now. It does do it efficiently, I must say — no halts or errors. FCP is always full of halts and errors. Most reels are turning out to be about six or so clips.
Discreet Edit, which I used to use a lot (and loved it) seemed to actually record timecode. I have a memory of changes in TC being reflected in media. Edit was pretty solid with TC. It was really solid with a lot of things. I appreciate Avid’s solidness too. I LOVE its media management and real-time. What I like least though is all the old-school expensive proprietary crap (I keep hearing the term “Avid Mafia”) — the fact that I need to rent an Adrenaline just to capture HD, case in point. In FCP I could capture with Decklink or AJA — I’m looking forward to getting into Cineform someday (AJA). Oh well, in the meantime, I wouldn’t want to edit this show on FCP. FCP 5 disappointed me, as did 4.5, as did 4…. other than multicam, Apple still hasn’t tackled the two core weakness of FCP — REAL real time and media management (database accuracy in general). I ramble.
Cheers!“THE LOST SKELETON OF CADAVRA” –