[Bouke Vahl]

Try this:
Duplacte your sequence, remove all audio, export to EDL
Open the EDL, change the video from V to VA1A2, import that EDL and relink.

Few problems with this, EDL’s do not like funny reelnames.
This can be a problem with relinking.

If they do not need the sound sync to the timeline, decompose the video only sequence, export to .ALE, set V to VA1A2, import with the third option in import settings checked (merge with known sources), select all and copy to a new sequence, export that to OMF.

If all fails, run a macro on the V only sequence.
I’ve made a simple one, with a very important feature, pause between commands if needed. The free demo will work fine for this. Download from my site, it’s called ‘videomacro’

Bouke

http://www.videoToolShed.com
smart tools for video pro’s

[Bouke Vahl]

And if that is not a reason to upgrade, my FCP aux TC reader can do it too, and convert it to QT ref with an embedded QT track.
Or are you talking about a ‘real’ LTC (funny beeps) track recorded in a multitrack BWF?
In that case, you definitly need my application as FCP cannot do anything with LTC on a sound track.
Download it from my site, the demo is free.
(i forgot if there is a limit on the BWF reading. If there is, contact me and i’ll remove it from the demo, as it serves not really any purpose now FCP supports it.)
Keep in mind it only works with multiple mono or stereo BWF files. If you have poly files, you first have to convert them.

But what amazes me, did you lock the audio recorder to the camera’s TC? Normally it’s the other way around, since most of the time the audio records way more than the video.

hth

Bouke

http://www.videoToolShed.com
smart tools for video pro’s

[Bouke Vahl]

Nope.
None has no compression. (it sez so in the name)
Animation is actually overkill. At 75% quality it is good for video sources.
If you do a ‘same as source’ export, you have in theory exact the same as your original.
BUT, the DV codec sucks for colored graphics, so it is better to choose another codec for your renders.

If you do so, you get a lot of other problems. DV is lower field first, most other codecs are upper field first.
You end up with a mixed field dominance file, and without de-interlacing, this sucks.
Now, if you are in NTSC DV, you have other problems.
NTSC DV has 4:1:1 color sampling, where MpegII for DVD uses 4:2:0
Some DV decks can upsample/interpolate quite well, thus ingesting the material with a good deck at a better codec than DV can result in way better DV -> DVD conversion.

Experiment, try, use your eyes. Do not let datarates fool you, this is just a very small part of the entire process / quality.
A well lit / shot / corrected DV shot can look better than a digibeta source. It all depends on the people / workflow.

Bouke

http://www.videoToolShed.com
smart tools for video pro’s

[Bouke Vahl]

Jan,
You don’t get it. SD video is ALWAYS 720 x 576 (in PAL)
Avid can do the scaling (bear in mind either AVID or you also has to set the levels. I suspect you also are not aware of CCIR 601 specs…)

Avid can do a fine job on importing full RGB 1024 x 576 images, but latest versions have a turkey in the input settings buttons. You have to set the aspect ratio to ‘601/709 non-square’ to get it right.
(where the ‘maintain and Resize, square’ ‘should’ be the correct option.)

But a photoshop action and batch gets the job done in no time…

Bouke

http://www.videoToolShed.com
smart tools for video pro’s

[Bouke Vahl]

No problem to put LTC on one of the audio channels.
VITC is not possible on DVD (all players crop it off)

If someone ingests the DVD in his NLE there are a few problems (and solutions)

AVID can read audio TC just fine.
FCP CANNOT. You need my FCP AUX TC reader for that.
Besides working with FCP over XML, it can also work stand alone, read the audio TC from ingested clips and put a QT timecodetrack in the files.

Another option is to put a hardware LTC reader between the DVD player and NLE to convert to 422 on the fly.

But why DVD? What’s wrong with tape / harddisk if some other editor has to work with the files?

Bouke

http://www.videoToolShed.com
smart tools for video pro’s

[Bouke Vahl]

you have corrupt files and/or wrong file permissions.
Set the owner to ‘everyone’ (or Administrator, i forgot) and set permission right.
I don’t know how you got it, we’ve seen it here on clients FW / USB drives. Never on our own SCSI nor SATA raids.

The keyboard issue ‘should’ not be related, but i would not trust that system anymore and do a total rebuild of the OS and Avid, then start troubleshooting the rest.
But you can start with the normal rituals like trashing MC state and such.
Or, do a roll back to a previous state (F8 on boot or something)

And both have nothing to do with your relinking trouble…

Bouke

http://www.videoToolShed.com
smart tools for video pro’s

[Bouke Vahl]

No matter multicam, decomposing is always better…

If the sequence won’t link, you can export the new, offline clips as ALE and import that .ALE with the second import options tab set to ‘merge evens with known sources’

Bouke

http://www.videoToolShed.com
smart tools for video pro’s

[Bouke Vahl]

well,
mail me direct and i’ll set you up.

bouke@videotoolshed.com

Bouke

http://www.videoToolShed.com
smart tools for video pro’s

[Bouke Vahl]

I once made a news feed recording application based on image recognition. It’s fairly simple to alter it to record on specific times.
If there is a VDIG installed, it can record to any codec available on the machine.

If you’re interested, drop me a line and i’ll set up a demo.
bouke(at)videotoolshed.com

Bouke

http://www.videoToolShed.com
smart tools for video pro’s

[Bouke Vahl]

that’s a bit conservative.
Depending on the complexity of the sequences, you can have way more. I keep about 15 long form piece sequences in one bin.
As for the amount of clips you can have in a bin, remember that there are more items in a bin than you might see.
If you have a bin with just one sequence, Avid also stores all used clips in that bin. That will add up.
I once did a piece with a few thousand imported still images in it, and that brought Avid down. (each still had a reel name assigned.) Chopping up the sequence in two made it workable again.

Biggest gotcha is too large mediadrives. A MXF or OMF folder can only have about 10.000 of files. If you have a lot of (audio) renders and you use the same media drive/folder for multiple projects, you’re heading for trouble.

So partition your harddrives and only mount the ones you need, keeping the partitions reasonable small (like a few hundred gigs)

Bouke

http://www.videoToolShed.com
smart tools for video pro’s