[Chris Bové]

Nina,
Dennis is right. Sorry, I completely glossed over your colour correction statement. The Adrenaline’s CC capabilities are terrific. Make sure that you have your engineers set up the Adrenaline’s Client Monitor as best as possible before you eyeball anything. Also, while the buttons for automatic adjustments (auto-contrast, etc) are great for when you’re in a pinch, nothing beats the manual operation of scopes and a good eye… and absolutely nothing beats hiring a pro.

Definitely push for the online time.

Question for Dennis:
Is the colour correction on Media Composer’s version 12 now the same as the Adrenaline’s? If Nina’s system could handle it physically, perhaps she could just upgrade.

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[Chris Bové]

If you don’t like it, I’ve cheated by creating a motion effect (100% speed) rendered one field only. It’s not the best, but it works.

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[Chris Bové]

I think 2:1 would be fine. We deliver it to PBS national all the time.

I’m in your same boat – 6 year old Media Composer and a fresh new Adrenaline in the next room. I haven’t however, seen a difference with the naked eye between 1:1 and 2:1 when it comes to broadcasting a show. Since the signal is compressed a bit anyway, it muddies them both up equally. Where I’ve seen the most dramatic difference is when tape duplication and backups come into play. 1:1 holds its integrity a bit better.

Engineering-wise, some people are actually sacrificing their system’s capability to do 1:1 because of its inflexibility where Avid media drives are concerned. Drives can be striped a certain way that eliminates 1:1 as an option, so it allows you to replace a dead media drive mid-project. If a drive dies on a 1:1 project, you have to replace the drive and restripe them all, thus losing everything.

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[Chris Bové]

Nice imagery! Although if it was shot your way, no one would be able to mess with alternate audio when it hits DVD. That’s the nice thing about masked talent – the voice-over room is fair game. (IE- replace Vader’s “NOOOOOOOO” with “Whasssaaaap”, playing over a tune from the Talking Heads on tracks 3 & 4).

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[Chris Bové]

Actually, I usually create an edit point at about where I want the color change to start, make the right side of the clip the new color and dissolve between the two. Reason: saves time. If you want to change the end color, you only have to render the right 1/2.

3 color correctors I use:
– Avid’s own “color effect”
– Avid’s color correction interface
– 3Prong’s plug-in (nice flexibility, rener time is a bit long, but worth it – you can create gradiant filter effects, etc).

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[Chris Bové]

[Mark Suszko] “Thought I saw an homage’ to the multiple-assasination sequence from The Godfather when the Jedi’s get attacked.”

You’re not the only one. (He cracks a tiny smirk.)

Man, my wife’s pissed at Lucas. She says “He turned Padm

[Chris Bové]

No money means man hours for you or an intern. Get a clipboard, a pen, and stand outside a mall.

. . . sounds like it’ll be kinda cheesy to have ’em addressing the camera. Just get some stock footage of people doin’ stuff and put a VO under it?

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[Chris Bové]

hmmm.

Rule out the Avid first. Try exporting only audio or only video from some newly created timelines.
If so, reinstall QT. Maybe a driver corrupted?
If not, reinstall Avid.

If not, stand on hands and blow rasberries at it.

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[Chris Bové]

[Shannon Brame] “why the damn avid thinks crashing is a fun hobby”

1st guess – upgrades to either your OS or to your QT (the term auto-update should be changed to auto-fubar). Updates make video cards angry at you.
2nd guess – when you reboot, go look in the Avid’s console (i think it’s cmmd-8 or ctrl-8) and see if any other actions happened during the process.

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[Chris Bové]

[Charlie King] “I still find it hard to believe that people have had such bad support from Avid”

Just an observation, but many of the folks I see posting negative feedback about Avids sound like they’re more from the producer or small business side of the fence. A lot are also newer editors that have logged more hours watching Star Wars with the audio commentary turned on, and less hours creating a solid reel. I don’t fault them, mind you, it’s just a side effect of the “click-and-get” civilization we’ve become. I don’t think any edit system is flawless. It’s just another tool on yer belt.

Here’s an overly simple analogy I like to use: FCP is a nailgun and Avid is a toolbelt of varying hammers. Different jobs require different tools. I’d put an extension on a house with an Avid, but replace a roof on with FCP. Senseless bickering usually starts with the homeowners that don’t have much construction experience… or from the small construction company that can only afford one or the other.

Where the bickering becomes fun to watch, is when you get a guy up on a roof who claims he can strip it, shingle it, tar it and guarentee it for 30 years with nothing but his 99