Glen Montgomery
Forum Replies Created
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Gosh, it always seems like quicktime is causing issues. You could go online and download an older version of quicktime then go back to the version you are at now when you are done converting the file. That always opens up a can of worms though because other programs get affected by quicktime versions so easily. Its an option though. Best of luck, I know how yucky it is to edit with old .wmv’s. Seems it is always the only source some clients can provide.
Editor / Motion Graphics Artist
http://www.GlenMontgomeryIII.com -
No problem, that is what the COW is all about. This is the first time I have heard of quicktime not being able to be selected. Is quicktime installed on the system? In this day and age I would be really surprised if it had not been installed through some other program. Maybe try looking in the mp4 presets and see if they can access any of the avid codecs. Another option may be scrapping squeeze until you figure out the quicktime issue. If you have after effects on that system you could render it out as an Avid 1:1 or maybe download mpeg streamclip. I have not used it myself but I have heard great things about it as a free compressor from other pros.
Editor / Motion Graphics Artist
http://www.GlenMontgomeryIII.com -
If you import the file into squeeze with the add file button, then go to the quicktime section of presets it should be available to any of the HQ .mov settings. It will not be in the MPEG options. The .mov will do a fast import into avid so you can output SDI to tape.
Editor / Motion Graphics Artist
http://www.GlenMontgomeryIII.com -
Hey Rob,
I don’t have Squeeze in front of me so forgive me if this suggestion doesnt match up exactly. Duplicate one of the HQ quicktime presets and go into the settings dropdown. In these menus you should have a place to change the video codec. If you are on the same machine that your Avid software is installed on you will have all the avid codecs installed. For SD projects I usually select Avid 1:1 and for HD it is the DNxHD flavor of whatever my project is set at. Of course you will be creating very large files but at least you wont be recompressing the already compressed wmv. Plus you will have a fast import of the finished file. Again, I am blanking on the menu terms within Squeeze, but if you hunt around you will find the right dropdown. Good luck.Editor / Motion Graphics Artist
http://www.GlenMontgomeryIII.com -
I have found the exporting a DNxHD file out of avid works great. On the FCP side you have to go to the avid site and download the DNxHD codec to install on the mac, but then you can edit in a DNxHD sequence or transcode to prores.
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A little update of the situation. The client is still going to get the upgrade this week, but he messed around a little this weekend and seemed to resolve some of the issues. In addition to the FW drive there was a USB drive attached to the imac. It seems after he disconnected this USB drive, Avid was able to render and keep effects and other precomputes. I still don’t get what is going on, but at least there will be a solid 4.0 machine waiting for me when I start again on it later this week. Thanks again for responding folks.
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Thats exactly what I said in the email. Still wish I knew what was keeping the internal HD from being used though.
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Its a 7200 drive connected to the imac’s 1 FW800 port. From what some others are saying it may be Snow Leopard. At this point I have suggested he bites the bullet and upgrades to 4.0, now I hope he doesn’t bite me instead. Thanks for responding, Jason.
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Hey Chris,
I have some partial answers. The DNxHD 36 is the smallest of the avid HD compressions for 24p projects. What you can do is create a 24p 1080 project and digitize the DVCproHD material, then before digitizing the SD change the format to 24p SD. You will bring in your SD material at 1:1 or 2:1 or whatever you choose then turn the project format back to 1080 24p. Now that you are back in HD you can transcode all the SD material to DNxHD 36 (or edit in a mixed resolution sequence till lock and transcode just the sequence). In disclaimer, all of this is kind of theoretical. I use this method a lot with 30i footage, but don’t know if you can digitize those SD tapes directly into a 24p project without some other conversions. Hope this helps in some way, I would definitely like to know how it all works out, hopefully one of the more knowledgeable guys has a more tested response. Best of luck. -
I need to chime in for the new breed. I know much of the comments were generalizations but you have to know there are a great many of us who are in this for the storytelling and not the plug-ins. I hate expressions, stabilization trackers, and denoise filters, its just more things that keep me from thinking about what impact that reaction shot is going to have on the interview. Yes many of us grew up with computers and geek out on glow dissolves, but don’t take away the idea that we can fret over 6 frames of trimming to get two pieces of audio to sound natural as one. But the fear of the next breed is always there, because they do things differently and come from a different culture. I am not much far removed from the little ones coming out of school now, but the stuff they can do in AE makes me sick to my stomach sometimes. I may never be able to do some of that high level motion graphics work, but I would rather have more confidence in the story and rhythm department. I would rather be trusted by my producers that I will have a project organized so well that even with the senior editor’s love of having 18 untitled sequences, even he can’t get lost. Even more so I want clients who have been in edit suites for years to trust my perspective on the project because I can clearly communicate what I envision for it and logically argue for the things that need to happen to make it a better piece. Avid is my scissor and tape of choice, but Ill lump myself in with the new FCP breed. Yes, sometimes we worry too much about what version of software is running and yes sometimes we want to film effect everything. But don’t say we don’t want to learn how to craft a program that makes you cry or shutter on the edge of your seat. I would rather be sitting behind you asking annoying questions about why you put that shot in front of that other shot or how you made the stammering CEO sound suave, but I have to go juggle 12 different codec issues and check on those damn untitled sequences again. And from some of the stories I have heard about the edit suites before the no smoking at work rules, the dope was still being smoked by the old breed.