[Grinner Hester]

I dont guess I realized MC was offered with mojo.
You don’t happen to be sportin Medea drives do ya?
I had the same thing happen on a meridien based symphony. Once I got Avid drives, it still happend from time to time but I could always get the media back. Never could with Medea drives. It was just gone and I had to work a few 36 hour shifts off the clock to make it right.

[Grinner Hester]

I lost hearing in my left ear a few years ago. A huge handicap in the edit suite for quite some time, I must admit. Now, irritating as it can be in daily life, I now consider it a strength when mixing. I learned to “feel the music” and not just the music. I call it using the force. Proly not the scientific factual response you were hoping for but the force has created much better mixes from my suite than my repititios habbits use to. Granted I have one monitor aimed at my head 2 feet away and the other aimed at the room now, but I kind of look at it as a great vantage point.. a different one anyway. When I was a staffer at TNN, we use to mix away in the suite then, when doing the final mix, (audio dude was in another room shared by a window and a PA) we ran it straght through a 20: Magnavox television. The client’s monitor. Mono as all get up, tinny as heck and a perfect way to get accurate levels between music and VOs, sweels and vallies.
As far as finding your exact freguency to delete, you’ll have to reach beyond Avid. There isn’t a science, in my opinion, to mixing. Ya just make it sound perty. I’ve not had a problem doing it all within Avid and have not come accross any frequency battling between tunage and talkage. It’s always just been a matter of eq and level per track.

[Grinner Hester]

your only option (as far as I know) within Avid is to EQ it by ear. You know if it’s a low or high vo so you know where to tweek right away. Pretty easy to adjust a bit, play a bit, adjust a bit.
I Have never removed the vo frequency from a music track and have never heard of a need to. I do eq VOs all the time but usually with my external audio console.

[Grinner Hester]

Wanna trade?
I have an MCA and would love to swap it out for an 844/X
or for anything for that matter.

Do you have Avid experience? If not, you can download the free version of Xpress at Avid.com. It’s not a powerful app by any means but it is the same interface and could provide some hands on training for you while waiting for the adrenaline.

why are you guys ditchin’ the 844?

[Grinner Hester]

mine isn’t on Unity. Still buggy tho. I stay in HQ mode. Other adrenalines I freelance on are no more stable than mine is. One of em loses the ability to click any button with the mouse every so often and ya gotta close the sequence bin and reopen it to get to work again. The one I freelance on that is on the unity will NOT mix resolutions on the timeline with success. It’ll play for a while but trying to edit a session like this is a nightmare, with audio pops galore to a point you jusyt have to reboot. It’s DV411 there or nuthin, really. Kind of disolves the reason to buy a high end box.
From what I have seen, the demos Avid sets up work and real life stacking of things that come in the door often does not. Brings me back to it’s not ready to be released as a v1 software yet.

I was starting a native HDV project not long ago. I discovered that adrenaline will not play 1080i HDV in HQ mode at all. wtf? If this is a joke, it’s not funny. So, now looking at nasty half quality hooha with the client asking why he shot HDV in the first place, I continue on. Was hoping to utilize the 1080i stuff in a 720 project after that and be able to move the 1080i stuff around without losing anything. Couldnt do that either. hmmm back to the 1080i project. Adrenaline can’t play it out but it’ll export as a file. ok now this IS funny. I’m gonna edit a project in half mode then spit it out blindly and like Christmas, be pleased with it when I finally get to se it. as a finished product? dude, I visualize a group of ties in tewks discussing this and agreeing that it’s a fine workflow. They obviously need an editor or two in the house to voice in from time to time.

[Grinner Hester]

most libraries, including deWolfe, allows you to do keyword searches.
you could type in big orchestra and get a boat load. Add BOOM to the search and limit it a bit.
I don’t even keep CDs anymore. I just download as needed.

[Grinner Hester]

can;t helkp you with the stock footage but I am a big fan of DeWolfe Music. Doesn’t sound like canned library music because they use a multitude of real musicians rather than multitracking a keyboard. It’s great stuff and they haggle. You can pay per needle drop, work out a per project flat rate or even a monthly or annual flat rate deal. Very cool people to deal with. Great tunage too. My olny complaint is it becomes kind of limited if you use the same style of music in different projects. I use alot of hip hop/metal and have tapped em out on what they have to select from. Took me three one hour DVDs to go through it all. It kind of forced me to go beyond the same flavor over and over so in a sense, it helped.

[Grinner Hester]

man, where to begin. It would be a much shorter list to list the things that did work properly.
Can’t mix resolutions with small unity… gotta do a mixdown. Can’t export quicktime rewferences for DVDs without doing a video mixdown. This is a big deal. An hour long show mixed down to 1:1 eats up needles disc space. Adds time to the day too, as does the ultra slow atuto save, the random crashes in a day, and still having to use AE as a DVE because this one is as aliased as it was in 1995 when it came out. It’s Xpress Pro with animatte at a price point that is rape. I have had $10k Premiere systems more reliable than Adrenaline. I would not say this if it were not true.
Unless somone in tewks is just really really bad at their gig, I gotta think the powers that be at Avid have lots of stock in Apple and this is part of the plan. At the rate it’s going, Adrenaline really wouldn’t be ready for a version one release to the public for another year or two. By then, they will be on version 4.2.8 or whatever they decide the number should be to fix a bug they sold to their hard-working customers.
As things stand right now, I could never bring myself to purchase another Avid product. They are just too reckless and we are trying to make a living here.

[Grinner Hester]

I’ll be going this same route soon.
I have been an avid Avid fan for 15 years. I enjoyed the ride from MC v4 to the Meridian line and was a happy owner of a Symphony. Loved it. Kicked the dog out of it and it just came back for more. I wish I would not have traded it in for an Adrenaline. I’m no fan of Adrenaline at all and now, not much of an Avid fan. I dig the DS but it’s price point is too high. Don’t much dig any of their other products now. While Avid use to lead the industry, they seem to have stopped trying and while other companies upgrade their products, Avid’s “upgrades” are now attempts at bug fixes on quite down graded products. Getting the Adrenaline put a huge dent in my business as it’s just not capable of doing what needs to be done much of the time. It’s not just my Adrenaline, every Adrenaline I freelance on… doesn’t matter what version they are on, it’s too buggy to be released as a version 1 to this very day. We now pay to beta test Avid’s software. I don’t intend on doing this again.
I have had my eye on FCP for quite some time. I wish I would have kept the Symphony and just gotten FCP. I’d be rockin with two suites now if I had done this. Now, I am trying to book my Adrenaline at home at half price.
I don’t think anything has sold more copies of FCP than Adrenaline.

[Grinner Hester]

another great thing about png files is they retain phoshop bevels and drop shadows where psd files don’t.
Also, your soft shadows stay the color you create then with png files where psd files blend in a white back ground in soft edges.
I do use jpegs sometimes but only the ones clients bring in. Often I have to doctor em up anyway so I just spit em out as png files.