[Glenn Sakatch]

I’ve been making my digital backup as jpeg2000 quicktimes. Simply because its more of a universal thing, and is still accepted by theatres up here as a delivery option.

Glenn

[Glenn Sakatch]

Been a while since i had to play with SD cc, but (from memory) if you capture it into your box, uncompressed, and you can still see the white data strips up top, i’ll bet you are good. Can you not output it back to a work tape and see if it is there off of the deck playout again? I wouldn’t think you would have to do any kind of “line tweaking”. SD cc is usually there if those white data bits are there and are moving around.

SD cc was usually pretty easy to work with. We used to capture it in Avid, crop to expose just the cc and overlay it back of different video and re-output all the time without issue.

HD cc is where it became a pain in the butt.

Glenn

[Glenn Sakatch]

We used to live and die by the Offline/Online workflow when everything came in off tape.
Then about 10 or so years ago we started doing a lot of stuff at full res, start to finish.
Now, yes storage is cheap, but unfortunately with all the digital media coming in, and directors forgetting what the word “cut” is, we are having to go back to Offline/online. We can easily have 4 or 5 projects on the go at once, and any one of them, if not all of them can occupy several tb.s of raw clips double or triple that for the full res transcodes.
If you only do 1 or 2 jobs at a time, it might not be that big of a deal, but there are plenty of facilities that don’t need the stress of constantly having to move media around when new projects come in.

I am now “teaching” all the young guys what offline/online means, as many aren’t taught the concept.

Glenn

[Glenn Sakatch]

but did you change you monitor settings after you switched to MC6, or before. Guessing after?
if so you have done the same thing that i am describing…making your monitors settings different…this time from what you are used to working with. So now you see stuff brighter, and naturally drop it down. Your clients haven’t changed their monitor, so they only see that you’ve dropped it down.

Put your settings back to default if this gets you back to “normal”. Power management will not affect how avid runs, unless you are running off battery, in which case your current settings will simply drain the battery faster.

One thing i do for some clients, who insist i colour correct for their computer screen is setup a preset
in mpeg streamclip to adjust the colour brightness and contrast of an output file for that particular client. Takes a couple of trys to set it up so they are happy, but from there, save the preset with their name, and use it for their outputs. Look under the adjustments tab.

Glenn

[Glenn Sakatch]

found this in a search from Marianna over at Avid.

1. The error is related to a file access problem. Look up the files or folders you try to access with the Apple Finder (eg. your mediafolder). Select the folder and go to File – Get info – Permissions. Change the permissions to Read&Write.

2. You may see this behavior on some versions of the Mac operating system if you have the “fast user switching” option enabled. If you get this error, disable this feature.

3. This can be caused by a conflict with newer AIR plug-ins. It is fixed in Media Composer 5.5.3.1 but if you did not remove ALL remnants of MC then MC 6 will also fail.

Please try the following:

– Go to Macintosh HD>Library>Application Support>Digidesign>Plug-Ins

– Move (or delete) the plugin files that begin with “AIR” (there should be 20 of them)

– Launch Media Composer

Marianna

Glenn

[Glenn Sakatch]

That is why you need a broadcast monitor. It doesn’t matter what you set your brightness to, nobody else on the earth is going to have theirs set to the same brightness. If you are on a PC, the people on macs will complain about the blacks.

All you can do is color your shows to a proper standard. After that, you can’t try to control everybody elses computer screen, it will drive you crazy.

Glenn

[Glenn Sakatch]

of course your color will never be accurate on their monitor, as you have no control how it is set up, and its not a broadcast monitor

Glenn

[Glenn Sakatch]

slingbox

Glenn

[Glenn Sakatch]

check your media creation settings, you may be filtering out your system drive…which is usually a good thing. That could be preventing it from showing up in your transcode window.

Obviously you have an internal drive, or the program wouldn’t run at all…the computer wouldn’t boot up either 😉

Glenn

[Glenn Sakatch]

One further note about your backups. I duplicate at all important junctions in the project. But just as important, and sometimes easier is to learn how to use (and properly set up) the attic.

This makes it quite easy to go back and find old versions of just about anything, whether you remembered to make a duplicate or not.

I actually had a practicum student in the other day who was playing down his timeline, and stopped it and said “this isn’t right…a whole bunch of edits are missing” He had no undos available to fix the problem, so instead we went into the attic, found the last 4 auto saves that were created, and found a version of his
timeline that was accurate.

Glenn