Glenn Sakatch
46
Avid Coins
85
COW Coins
36
DaVinci Coins
4
Premiere Pro Coins
2
Solve Coins
Forum Replies Created
-
I do this all the time…its quicker than going straight to disc.
You have to create a virtual XDCam drive on your computer. I have a folder setup of the XDCam structure.
Drag it to a little batch program (only works in windows) This turns your folder structure into a virtual
drive on the computer.Then launch MC (won’t recognize the drive if the program is running when you create the drive)
go output to device, and you will see an XDCam drive ready to use.After you’ve output from MC, you can copy the contents of that Virtual Drive to an actual XDCam drive, or
burn to a regular DVD for future use. I do it for commercial runs that don’t need to be XDCam yet, but i know broadcasters will be asking for them eventually. Costs me a dollar to keep an Archive of an XDCam disc sitting around.As for the method of creating the virtual Drive, i found it here.
https://dylanreeve.com/videotv/2011/virtual-xdcam.html
Pay attention to the drive letter you are assigning to your virtual drive…it can’t be one that is already on your system. (you may have to edit the batch file to accomplish this)
Also, realize that the drive that is created will have the same name as the actual drive that your folder
structure is sitting on. There doesn’t seem to be any way around this.Glenn
-
If you have trouble with this…if you haven’t actually used avid to edit anything, just create a project, Ind import the simplest graphic you can find on your box. As soon as avid creates media, it will create that structure for you… and as was said earlier…don’t import to your boot drive
Glenn
-
I love your opening paragraph. So many people switching from one program to another are willing to overlook the hassle of particular work flows on their old system, because that’s how it worked…bu god forbid a different system uses a different work flow, or file type, or shortcut system. Im not specifically talking about FCP users, but any of us that use more than 1 system. I have FCPs, Media Composers and Ds’s. I decided long ago to use them as intended for their strengths, rather than mope that it made me do something differently.
Glenn
-
Or ama link to files not volume option….then select the individual files. Good way to trouble shoot a bad file.
Glenn
-
Are you talking tape caption or file caption…hd or sd.
Our captioner uses maccaption/caption pro., but he only has the plug in for final cut caption format. Avid format is another expense for him, but I know the work flow is there if you have a kona card. Your final destination and format is a pretty big part of this equation though as SD and HD work flows differ.
Glenn
-
There is nothing worse than people wanting their tapes back before you are done with them. I would consider cloning the tapes if it isn,t too cost prohibitive. At some point they obviously need to be up converted to HD. If you have a teranex or some such device, perhaps up convert to HDCam, and use those as your source tapes. Digitize them for your of line work low, the uprez for online…same as everything else. Without copies of the tapes you run the risk of having to ask for the tapes back at some point due to an unfortunate accident, or hardware malfunction. I usually tell clients that I need the source footage until the job is done.
Glenn
-
Doesn’t avid still come with a copy of media log….or am I dating myself? Perhaps that would work
Glenn
-
Aoife, the only way i can get anything like that to happen is to use the segment mode (extract/splice in) tool in the smart tool section. I assumed you were talking about a strict Insert Edit using the Yellow Arrow with the two Black dashes, in the area between the source and record monitor, or by using the “V” key on the default keyboard. If your editor is using the splice in tool from the smart tool, that does seem to simulate what you are describing, but again, i can only get it to happen when i unlock the tracks.
Is that what is happening, is she moving a clip around on the timeline? or is it a pure insert from the source monitor?
Glenn
-
Aoife, i was going to try to simulate your problem, but i need a bit of help on your screen grab, as I can’t see the edge of the video and audio tracks.
The item with the purple piece with a dissolve is a video track?
the other two are audio tracks, or all 3 are audio tracks. (is the -50 audio out of sync with audio, or video out of sync with audio)Which piece did you insert..the piece after the color coded items?
And you are saying that one dissolve that looks to be centered on the dissolve is 50 frames long?…hense the -50 on everything after the inserted clip, which does not show any sync issues.Glenn
-
I would try the other direction. 23.98 converted to 29.97 usually looks better, and is quite common. Create a 29.97 project and put your 23.98 on the time line and let avid convert it in the time line.
Glenn