Forum Replies Created

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  • Dom Silverio

    January 26, 2007 at 3:18 pm in reply to: ERROR message unsupported resolution

    OK, if you remove all your media drives and you are still getting the error, Avid is having difficulty scanning the media folder located in the installation folder. This folder contains the ‘Media Offline’, filler, ‘wrong format’ video.

    Uninstall it. Reboot. Reinstall. Reboot. REPAIR PERMISSIONS. Reboot. Now try it.
    For some reason, Avid is being blocked from writing the PMR/MDB files in this folder. Repairing the permission usually fixes it.

  • The codec exist in the ADrenaline and Symphony installers. However, this codec is not for distribution. because of licensing issue. Check the EULA. It is the Avid Codec PE (LE is the normal distributable version).

  • Avid Studio is probably your best bet – if not Media Composer software only.

    With Studio, all of what you explained in your workflow, are tied together – DVD, graphics, etc.

    You can export WMV 9 from XPro/Media composer itself. Or you can use Sorenson Squeeze (which comes free) to give you more flexibility for compression (including web and HD distribution). WMV is an additional cost with FCP.

    Most of FCP’s codec (it is actually Mac QT codecs) are supported on the PC. However, some are not – including their DV50 and AFAIK their intermediate codec for HDV. I don’t have the complete list but you should test it if you planning that route.

    It is also a good idea to stay in one platform if you can in a collaborative environment. It is not absolutely necessary, dual or even triple platforms are the norm for many. But if you are a one man shop or do-everything editor/tech, you can minimize conflicts if you are in one platform.

    .02

  • Media Composer software version. 🙂
    You can always borrow the dongle from work.

  • Transcode any material you need to a portable drive (ie firewire).
    Copy your project folder with it also.
    Open the project in your XPro at home. Avid will automatically reconnect. You dont have to do anything.
    Once you move your sequence bin to your Avid at work, Avid will again automatically reconnect (except for render files aka precomputes) to your 2:1 media since that is the only available media in this Avid.

    There is no need to go through the relink dialogue box unless you have different resolution of the same media residing in the same Avid – which you will not (home Avid = DV, work Avid = 2:1) or having technical issues or conflicts.

    Bottom line is, as long as media with the same TC and tape name exist, Avid will automatically reconnect for you. Manual reconnect for the workflow you are desrcibing is rarely needed.

  • Dom Silverio

    December 8, 2006 at 5:46 am in reply to: editing 24p regular footage on 23.98 sequence

    To add – removing pulldown from 24p Standard and 24p Advance will be result a 23.976p footage.
    You just can’t remove pulldown via firewire with 24p Standard with FCP. It has to be done with Cinema Tools.

  • Dom Silverio

    December 8, 2006 at 5:43 am in reply to: editing 24p regular footage on 23.98 sequence

    You are OK. You just need to bring the 24p Standard pulldown material to Cinema Tools to be pulldwon.

    FYI – 24p Advance and 24p Standard are both running at 23.976p with DVX100.

  • Dom Silverio

    December 5, 2006 at 8:47 pm in reply to: MAC PRO 8 core processors??

    July 06 release was the desktop version (Conroe). The mobile version in Mac Book (Merom) came out later – I think August-September.

  • Dom Silverio

    December 4, 2006 at 11:30 pm in reply to: Adrenaline DNA vs Nitris DNA

    I have a show tht I support that uses the SN as both the offline and online. It works great just like any Media Composer or SD Symphony.

    If you have the storage, you can even offline in DNxHD for your HD projects. Just note that the drive space required is about half of uncompress SD. In fact, none of the DNxHD is really offline res. Hopefully, Avid will release an update to fix that. I know they are working on 36 Mb/s DNxHD codec but that is supposedly only for 24p HD crowd doing film and such and not for 50i/60i crowd.

  • Dom Silverio

    December 4, 2006 at 1:23 pm in reply to: Adrenaline DNA vs Nitris DNA

    Many, including me, consider Nitris Symphony as one of the best Avid NLEs in a long time.

    It is very fast. It is hardware based for most of its effects (some legacy FX that you can bypass are not). It is 16 bit quality. It is also more stable than Adrenaline – which is surprising considering it is a 1.x release.

    If Nitris is within your budget, I highly recommend it. Or at least test drive it. My experience with smoke is limtited so there is no point for me to do a comparison. You can ask around people who has Symphony Nitris. I would not be surprised that 9 out of 10 would highly recommend it. The 10th would just recommend it.

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