Brent Marginet
Forum Replies Created
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Just create your own custom Bin Layouts.
At the bottom of each bin you can save your own layouts.
Then if you don’t need it later on just go to Settings and Delete it.Once you create a Bin layout you will be able to use it on another system after you open that Bin and do a Save As. Kind of to bad that Avid doesn’t automatically import the Bin Layout on another system but you can at least transfer them by doing the Save As. Here’s a snapshot of my Custom Bin Layouts.
\”MY MEDIA/PROJECT MOTTO: If you think three copies of your Media or Projects are enough. Take a moment to place a value on them and then maybe add two more.
Hard Drives are now stupidly cheap. A RE-SHOOT AND YOUR TIME AREN\’T.\” -
As far as I can remember if the Frame Rate indicator is flashing then you have the deck set to the wrong frame rate. That would also explain the chipmunk sounding audio and dropped frames. Many decks will still playback even if you have the frame rate set incorrectly but there will always be something wrong with the audio and video when it’s not set to the same frame rate as the tapes were recorded at.
These could be the base frame rate masters which may have been done at 23.976 or they could even be PAL 25fps masters. The last production house I worked at only kept the 23.976 Masters in our Library so that we could do any required frame rate conversions that were required later on.
\”MY MEDIA/PROJECT MOTTO: If you think three copies of your Media or Projects are enough. Take a moment to place a value on them and then maybe add two more.
Hard Drives are now stupidly cheap. A RE-SHOOT AND YOUR TIME AREN\’T.\” -
There may be nothing going wrong with your system other than the fact that you are viewing the Video on your Computer Monitor. As Job said there is a Flag in ProRes files that causes Quicktime to display the Video differently than if it were a DNxHD/HR or some other Codec. The problem however is with the way Apple has made QT interpret the Flag as opposed to how MC Exports the Flag.
This is the type of post that has been beaten to death and really the problem stems from the fact that everyone expects there Video to look proper on Computer Monitors. Well it doesn’t. Avid MC, Premiere, DaVinci Resolve, FCP-7, FCP-X, QuickTime, VLC, M-Player, CinePlay, Youtube, Vimeo, etc., etc., etc. all display your Video Differently. Even my dual identical Computer Monitors display it differently for two reasons, Computer Monitors are not accurate and one is driven from a DVI Port while the other is from an HDMI Port.
If you want to really know what it looks like then you must send it from an output Device via HD-SDI to at least a Good Reference Monitor that is set to the same Colour Space as your Video has been created in. In your case that is likely Rec.-709. There really is no other way to know and don’t ever expect that to change. Video Cards and Computer Monitors are Inaccurate and that’s that. I have the fortunate luxury of being able to view everything on a Flanders CM-250 from either my Avid BOB or a Decklink Card and so Avid, Premiere, Resolve and FCP outputs all look pretty much identical.
I’m not being an ass, I’m just stating the realities and facts of what the bottom line issue is.
\”MY MEDIA/PROJECT MOTTO: If you think three copies of your Media or Projects are enough. Take a moment to place a value on them and then maybe add two more.
Hard Drives are now stupidly cheap. A RE-SHOOT AND YOUR TIME AREN\’T.\” -
Good accurate Reference Monitors are at least $3000 or more and in the end if it’s only going to end up on the internet you will still be disappointed with the results. VLC, Quicktime, Vimeo, YouTube, etc., etc. are all going to look different and won’t match your reference monitor anyway. So if it’s only going on the web a reference monitor may not be a justifiable expense.
\”MY MEDIA/PROJECT MOTTO: If you think three copies of your Media or Projects are enough. Take a moment to place a value on them and then maybe add two more.
Hard Drives are now stupidly cheap. A RE-SHOOT AND YOUR TIME AREN\’T.\” -
There is likely no solution. I have yet to see recovered data fully intact. Not even the recovery experts guarantee full recovery of data and there services cost a fortune.
This is what Project and Media Backups are for. See below.
\”MY MEDIA/PROJECT MOTTO: If you think three copies of your Media or Projects are enough. Take a moment to place a value on them and then maybe add two more.
Hard Drives are now stupidly cheap. A RE-SHOOT AND YOUR TIME AREN\’T.\” -
Have you AMA Linked your Exported file and compared it to your video in the Timeline.
They should both look the same in Avid, if not then something has gone awry on your system.\”MY MEDIA/PROJECT MOTTO: If you think three copies of your Media or Projects are enough. Take a moment to place a value on them and then maybe add two more.
Hard Drives are now stupidly cheap. A RE-SHOOT AND YOUR TIME AREN\’T.\” -
If your running anything before High Sierra then install Quicktime 7 for Snow Leopard, open one of the files and do a CMD-I to get the codec info on the files. The other option is to buy MediaInfo from the App Store and open one of them with it. It’s only $1 or $1.39 or something like that.
I also agree that the Camera Originals were Transcoded to some QT Codec, again the .mxf XAVC Codec is what this camera shoots natively.
Here’s the link for QT 7 and below is the link to the latest version of the Codecs, V2.0.6.
https://support.apple.com/kb/dl923?locale=en_US
https://support.apple.com/en-ca/HT202410\”MY MEDIA/PROJECT MOTTO: If you think three copies of your Media or Projects are enough. Take a moment to place a value on them and then maybe add two more.
Hard Drives are now stupidly cheap. A RE-SHOOT AND YOUR TIME AREN\’T.\” -
You cannot go by what it looks like in Avid. That’s a Proxy View of the Video and those are never even close to accurate no matter what NLE you are in. What you need is an AJA, BM, Matrox, Bluefish or AVID Output Card or Breakout BOX and at least monitor it on a good quality HD TV. Ideally you want to monitor it on a Reference Monitor but those are expensive.
Are you running a Mac or a PC because some OS’s use the wrong Gamma so that could make it look darker as well. The Output Levels should be Rec. 709 Legal Range and I suspect that if your Exports look that dark then they are really just to dark.
\”MY MEDIA/PROJECT MOTTO: If you think three copies of your Media or Projects are enough. Take a moment to place a value on them and then maybe add two more.
Hard Drives are now stupidly cheap. A RE-SHOOT AND YOUR TIME AREN\’T.\” -
That thing has been discontinued for what 10 years and aivx is obviously only a consumer codec so I truly don’t understand how the files from this camera would have ended up as avix .mov files. There’s no possible way that Catalyst will be able to read them unless they are in Sony’s Native Codec which is XAVC.
\”MY MEDIA/PROJECT MOTTO: If you think three copies of your Media or Projects are enough. Take a moment to place a value on them and then maybe add two more.
Hard Drives are now stupidly cheap. A RE-SHOOT AND YOUR TIME AREN\’T.\” -
There are no Sony Cameras as far as I know that record to .mov files so something have been converted somewhere along the line. The FS7 files should be .mxf XAVC. I’m not even sure what an .aivx file is. Have you tried opening them with MediaInfo to get more info on what exactly they are.
\”MY MEDIA/PROJECT MOTTO: If you think three copies of your Media or Projects are enough. Take a moment to place a value on them and then maybe add two more.
Hard Drives are now stupidly cheap. A RE-SHOOT AND YOUR TIME AREN\’T.\”
