Dylan Reeve
Forum Replies Created
-
I had this – I can’t remember the exact situation, but I think it was something to do with scaling in the layer I was masking. I think I had it scaled down to about 80%. The points were showing where they would be if the clip was 100% size and central in frame, so when I put it somewhere based on what I saw in the canvas it wasn’t actually there.
-
Check the System Frequency also. It can be 60Hz or 59.94Hz, I don’t know which is required for 24p, but I do know that things don’t work quite right if it you’re not in the right mode.
-
It sounds like the deck is getting confusing widescreen signals. I believe you can disable this in the menu somewhere. I presume the footage on the tape will all be full-frame anamorphic, it’s only the deck’s preview that is changing based on it’s reading of the WSS (WideScreen Signaling). The WSS in DV isn’t well supported outside of camcorders, I tend to ignore it entirely.
The WSS signal is carried in the DV header and on a non-active video line which I believe can be set to be blanked in the deck configuration.
-
It should do a ‘Fast Import’ when using an Avid codec, but there are some caveats – you need to have the right import settings (namely 601/709 pixel size and colour space) and the clip needs to be encoded properly.
I regularly render clips from After Effects and other apps into Avid codecs and get good Fast Imports into Media Composer.
-
You can share projects and bins across a network. But the media is a different issue. It has to be present locally on the machine you’re using.
The easiest way would be to have each project have it’s own FW800 drive. Put all media for that project on that drive, label it. When you want to work on that project just take that drive to any edit suite, plug it in, and open project from network. You could also store the projects on the drive along with the media. Although I’d be more comfortable with it on the network.
-
We can only deliver HDCAM or HDCAM SR to broadcasters in NZ.
No file-based delivery yet. And I’m not sure when that might happen, with the vast number of formats, and options I can see that it could be a nightmare for broadcasters.
-
Off the top of my head I think it’s F3 that puts a marker in the clip.
-
I can’t think of a way. Effects in Avid always apply to clips on the timeline, not on the clip itself.
I thought I had seen an app that could flip the image in the HVX files, but I can’t find anything, so I might have imagined it.
Otherwise, you could put all the clips in a sequence, apply a flip on there, and then edit from that sequence as a source.
-
I’ve delivered hundreds of hours of television for broadcast (albeit the vast vast majority with Avid) and had very few issues. In my case I’ve usually had hardware scopes at my disposal, but don’t often need to refer to them. Also, even with scopes it can be quite easy to miss things, a single frame of illegal luma may be enough to fail a program, and very easy to miss without a logging scope.
So far I’ve found the FCP scopes to be very much in line with what my hardware scopes say and using a digital I/O (Firewire or SDI) I’ve never had noticeable difference in displayed and recorded levels.
If you have a good relationship with your broadcaster it’s not a bad idea to send an ep in early for a helpful tech check to make sure that everything is as it should be.
Of course, all my experience is within PAL which I believe can be a little simpler in things like this.
-
If you’re using software only (without external hardware) then the most important factors are going to be CPU (Avid likes Intel) and the graphics card (needs to be NVidia)