Dylan Reeve
Forum Replies Created
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Once you’ve made the effect you want you can save the effect to a bin (this is true of all Avid effects) and then drop it on to one or more clips as needed.
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I’m on board with the recapture train really.
Data recovery, especially of that much data, is going to be really really iffy. I’ve never used an XSan, so I don’t know the setup, but assuming it’s a hardware RAID there’s also a lot of difficulty in recovery that way – a lot more complex than a single drive.
If you’re especially unsure about the effectiveness of a recapture, I’d take the ‘damaged’ XSan offline immediately. Replace it with a new one, recapture as much as possible and then perhaps focus on a data recovery of anything you identify as vital and missing after the recapture.
And I would take the IT department off my Christmas card list after a thing like that.
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It is something that can be flagged in the DV stream, so perhaps Avid could implement it on DV output? I don’t know what the complications are in doing so.
Maybe post a feature request on the Avid forums? I’m fairly sure the Avid product engineers keep an eye on that.
The flag is of limited use as no decks I know of do an on-the-fly Aspect Conversion anyway. So I guess it’s only real use is with firewire interfaces which would be pretty much only NLE software.
MichaelP only follows me around becuase I have half-a-day on him timezone-wise.
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This is 16:9 Anamorphic. It is the correct way to output proper widescreen video. When displayed on a widescreen TV is should expand properly to fill the screen and be wide.
It can be complicated slightly by the fact that DV supports a widescreen signaling format that is supposed to tell the display device whether the signal is 4:3 or 16:9 Anamorphic. However this flag isn’t usually able to be set by decks and NLEs, only by cameras. Making it slightly useless in practice.
However rest assured that ‘tall and skinny’ in a full frame is actually proper widescreen 16:9 and should look right on a widescreen TV or projector, assuming the TV isn’t set to assume it is a 4:3 video.
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You had ads in the opening ceremony? I’m fairly sure there were no ads in the TVNZ coverage between the beginning of the ceremony proper and when I gave up and went to sleep (it started at about midnight local time).
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Considering how many interviews I’ve edited where I’ve had to stop and replay bits over and over again to even be sure myself what it said, it’s hard to imagine that this sort of thing will ever be more that ‘somewhat’ accurate. When your throw the wide variety of accents and speech variations into the mix it’s even more boggling.
Avid’s ScriptSync feature is amazing, but then it’s probably a lot easier that way around, you generate a phonetic map of the transcription or script and then match that to the audio. It’s great once you have a transcript, but that tough bit is still required.
One thing I know many ScriptSync users are doing it partial transcriptions. They make a transcript of only some of the tape, like a few sentences a minute – the most interesting ones – and then ScriptSync can still match to those. By adding general comments about the subject in discussion the partial transcript becomes useful without having to be 100% complete.
I recall reading a few weeks ago that there was an FCP plugin in the works that would perform similarly to ScriptSync, so perhaps that idea holds some practical hope?
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There’s an application I’ve used from Digital Rapids called ‘Copper’ which is specifically designed for sending large files over the internet. It’s used quite extensively in ‘Hollywood’.
It is a specialist protocol that gets much better performance that TCP-based protocols like FTP and HTTP.
It’s very good, but both ends require quite expensive software licenses to use it.
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If, when you captured the clip the first time, you just let the deck roll until the tape ran out then you can actually get a frame or two at the end of the clip that are really beyond what’s on the tape.
The best thing to do in that case (I almost always do this with batch capturing entire tape clips) is to modify the clip and decrement the end timecode by a small amount, maybe 10 frames.
To do this:
1) Highlight clip(s) in bin
2) Clip -> Modify
3) Select ‘Decrement Timecode’
4) Choose ‘End’ and enter ’10’ -
Avid will import anything that Quicktime can read generally. But there is transcode time involved.
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Ignoring the file size issue, and focusing on the quality and ease of use…
If I were doing this and posting three video formats for each file I would do:
1) ProRes422
2) DNxHD 115/145
3) H2641 and 2 should work fairly easily for FCP and Avid editors, number three is a tricky one I guess. H264 is space-efficient, but not resource efficient, it is hard to decode, and not many editors support it natively. But it is fairly common and shouldn’t be that hard to deal with.
Although the best approach might be simply to ask your potential userbase what they’d prefer.