[Greg Janza]

there’s multiple ways to go about these things but two options:

1. load black video into source side and make your insert edit

2. map “extend previous edit to playhead” on your keyboard. Move your playhead to your extend point and hit the key.

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles

[Greg Janza]

4k would only make things much more complicated than they need to be for this programming.

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles

[Greg Janza]

In the spirit of continuing the incredible sharing of info on this forum I highly suggest that if you in fact go with a QNAP instead of 45drives then you should send Bob a bottle of whatever he prefers. The info he laid out in this thread is priceless.

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles

[Greg Janza]

i think you’re right about the AMD chip connection. I don’t think this is an issue for many others.

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles

[Greg Janza]

Don’t mean to end the nostalgia but out of curiosity, does the new imac pro have the equivalent of a m.2 NVMe slot in it?

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles

[Greg Janza]

[Bill Davis] “If thats how you think about it – it won’t.
“

It really has nothing to do with a mindset.

For example, an in-house agency spot that i’m working on currently. The final vo was recorded. Notes of good takes were taken in the field during the vo recording session. Those notes were passed onto me to make the edit “easier.” I then placed the hero vo takes into the spot and the result was:

Creative Director: “I don’t like that read at all.”
Client: ” What about mixing in other reads for some of the lines?”

So basically all on-set notes were thrown out the window once the vo was brought into edit.

An Alternate approach then:

Bring in the vo, lay it out in a sequence with waveforms showing. From the waveforms, quickly mark the in-points of all takes. this takes about two minutes.

Then bring in Creative director and client and listen to all takes and drop in on the fly to the spot.

To me this is much more realistic to how an average agency edit goes down. If I’m working solo then the on-set takes might be a good starting point but by no means would those notes get me to the finish line.

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles

[Greg Janza]

[Herb Sevush] “As an aside, this statement, while true, drives me crazy.”

Ditto.

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles

[Greg Janza]

I doubt that the PC has anything to do with the issue. Have you tried opening a new project and just importing the sequence from the other project?

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles

[Greg Janza]

I’m a bit confused. When you look on the cloned drive you cannot find a matching file to re-link to?

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles

[Greg Janza]

[Oliver Peters] “The number one priority of the on-set support crew, whether you call them a DIT, a data wrangler, or whatever, is to properly get the data from the camera cards onto secure and backed up drives to be sent to editorial. That task alone is often hard enough.”

I agree completely. As little energy as possible should be spent on set collecting metadata. I too ignore all of that in the edit. As long as I’m receiving all of the media correctly I can then very efficiently bring it in and organize it amazingly fast through string outs and making use of pancake editing.

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles