[Christopher Travis]

No the lock tab hasn’t been moved, I double checked, also, I was able to offload on my friends computer.

I’ve tried formatting on the camera a couple of times but still no luck getting it to mount. I’ve done all the software updates it’s been bugging me to do and it still won’t read the card while my friends computer still reads it no problem.

Anyone got any others ideas?

[Christopher Travis]

Nope, these are audio files that have been imported into the Avid. Just to confirm, I tried adding a match frame edit on a music track that had no percussion, just a droney soundscape, and there is definitely, very audible clipping at the start and end of the cross fade. If i take the crossfade off, I can still hear clipping, and most strangely, if I set the audio levels on the track back to the same levels, I STILL hear clipping across the cut.

Any thoughts?

[Christopher Travis]

Hi Glenn,

Thanks for your response. I don’t get any pops or jumps when the levels are the same on both sides of the cut. It’s only noticeable when I have a cut, with different levels on each side, and a crossfade across the cut.

[Christopher Travis]

Sorry Marshall. Seems like I’m the one who’s not reading your posts. Sorry. I don’t have any other tips for you. I’m onto an Avid job now so dealing with MC related headaches.

[Christopher Travis]

Have you tried the trick I mentioned in my second post? Move the original low-res media to a different part of the drive (or another drive entirely if that’s possible) then try directing PP to the new media?

This worked for me.

[Christopher Travis]

And yes, forgot to say these are half hours not hours.

[Christopher Travis]

Thanks for your response Shane,

I was hoping you’d reply as I know you do a lot of reality. I left a comment on an old blog post of yours so in case you didn’t join the dots, no need to respond to that one too.

I thought this was too tight a schedule. This is their second series (I’m the UK, it’s an American format that’s been running for a few years over there I think) so I’m hoping they having some sort of plan/system in place. Basically, I’m sure it can be done, but just not to a very good standard. Reactions are crucial as you say, but I think by getting a rough cut together quickly and matching frame back to the source, I can scramble together the shots I need. I’m just sceptical about cutting without a good knowledge of the material because we’re bound to need to go back later on to find extra little stories and moments to pad things out later once we realise we’re short on time..

Good to hear it’s my just me that thinks this is too tight. All we can do is give our best efforts and make itt as good as we can in the short time we have.

I take it then that you never cut like this and always watch all the footage before you stry? I’m ised to working like that and this is the first time I’ve been asked to cut blind like this.

Chris

[Christopher Travis]

[Matt Kelly] “Only issue for me is that I don’t know if I’m getting way ahead of myself – maybe a few years down the road I’ll discover that video production was just something of a flame towards the end of high school”

A small piece of unsolicited advice:

I would suggest you don’t think too much about this. I was lucky, and got given an opportunity at a (relatively) early age to work in an industry I’ve come to really enjoy. However, all the time I’ve been doing this I’ve seen many of my friends floundering for years looking for a career path to get on. Most of them it seems to me are, or were, paralysed by choice and, for fear of making a bad choice, ended up making no choice at all.

What I’m most grateful for is someone offering me a path and saying “try this”. Without that I’m sure I’d have been the same as some of my friends, fretting over what path to take. Ok, so it happened to work out for me that I stayed in this industry but I think it’s important to realise that trying something for a few years, then realising you don’t like it is not a waste of time. In many ways we only develop a sense of what we actually like by developing a more and more refined sense of what we don’t like.

So in short, if right now you feel like this is something you’d like to do, then give it a go. Just go in with your eyes open and keep asking yourself if you’re still enjoying it. I’m nearly 10 years down the line and still enjoying it, but if you get bored after 2 or 3, you haven’t wasted 2 or 3 years. You’ll be able to chuck it all and start again.

[Christopher Travis]

This is essentially what I’ve been dealing with for the last 12-18 months.

Back when I only ever used one NLE (FCP7) I would look jealously over at the growing capabilities of other NLEs and wish my clients would just move on so that I can play with all the shiny new toys. However, now that this has happened, I find myself jumping from one system to another with each job. FCP 7 for two weeks, then Avid for a month, then premiere for 2 weeks, then back to Avid and so on and so on (no FCPX as of yet since there’s not much call for that here in London as far as I can see, but I’m sure it’s coming). Maybe I’ll get used to this in time but I still find I take at least a morning to get comfortable again, and a couple of days before I’m back in the rhythm, using all the keyboard shortcuts etc.

I find it much more stressful now as when I start with a new client on an NLE I haven’t used in a while, and crucially when I’ve just been using another one for a long period, I find that on top of taking on board the demands of the new job, I’m rewiring my brain to their NLE and feeling frustrated that I’m not as fast as I was on whatever I was using last week. Particularly if it’s a new client, I worry that I might look inexperienced.

So far so good tough, and none of this is the end of the world, it’s just another little stress to add to the many that already exist in the life of a freelancer. On the plus side I’m pretty sure all this mental gymnastics is going to help stave off dementia for a while longer at least…

[Christopher Travis]

Thanks Rob,

I probably wasn’t clear. This is what I had been trying, and when I went to “link” the media, I would point it to the transcoded file, and it would only relink that first file to the prores media, all the rest of the files in the bin would link to the old H.264 media.

I did manage to sort it in the end though. I moved my “original media” folder up to the root of the drive, then pointed PP to the transcoded media and “oila” it relinked everything to the new Prores media.

Thanks anyway,
Chris