[Hector Berrebi]

not to say it doesn’t sound interesting…
just seems like the wrong forum for this

Hector Berrebi
prePost Consulting

[Hector Berrebi]

media creation settings, all set to ProRes MXF?
how about import settings? can you post a screen shot?

also, how did you make your ProRes? maybe throw it in FCP7 and look and the columns for info…
alpha? interlacing?

did you try in a fresh project? or the same file on a different system?

hector

Hector Berrebi
prePost Consulting

[Hector Berrebi]

YW 🙂

maybe look into getting some FCP to Avid training there are books
maybe videos too

in many cases, its not a good idea to apply FCP logic in Avid

hector

Hector Berrebi
prePost Consulting

[Hector Berrebi]

no

this is how Avid brings in stills. based on your project resolution, and with a solid background, unless you have an alpha layer.

that’s why you use P&Z for stills

Hector Berrebi
prePost Consulting

[Hector Berrebi]

you should try to do a search on this topic, it has been answered several times.

either bring in your still using the Pan and Zoom effect
to maintain original size

or in your case, you could apply a 3D warp effect and crop to your desired size

hector

Hector Berrebi
prePost Consulting

[Hector Berrebi]

[Anders Haavie] “Can you export an entire project with lots of bins, or do you have to export one at a time”

ןts import, and its only one bin at a time
function is called “Open Bin”

in general, i would strongly advice you against working in the way you suggested earlier, sharing media this way will cause many headaches, if not worst. to my best knowladge it would simply not work.

you mentioned coming from FCP world, even there you wouldn’t be able to pull this off properly without a server ans some SAN solution.

if you don’t have the budget for a proper solution, duplicate your media and work with a duplicated project, or even just by sharing your sequence bins. this is done frequently and works fine,
several directors i know like to fiddle with timelines at home on duplicated media, and just email the updated project or bin when they finish.

if you are organized, and give proper names to sequences, this is an easy workflow to follow.

if storage is an issue, then work offline. DNXHD36 or even DV. Avid’s media management is very good and going back online once you’re done is relatively simple.

if storage is still an issue… get the message 🙂 work on one system.

hector

Hector Berrebi
prePost Consulting

[Hector Berrebi]

never seen it.

did you check your import settings?

did you try using Avid Pan and Zoom plugin to bring in the stills?

Hector Berrebi
prePost Consulting

[Hector Berrebi]

[Andrew McKee] “You can’t fast import XDCAM or DVCProHD because you don’t import them at all. You can AMA and then consolidate which will just rewrap as MXF in the native codec.
“

i know 🙂

i just mentioned them as an example, mainly because of how surprised i was.

documentation still states that only Avid codes can do fast import

Hector Berrebi
prePost Consulting

[Hector Berrebi]

yes, some effects process in 16 bit others only in 8
its mentioned in the help file which are what

i believe the 16 ones will maintain your 10 bit

and MC software does work and supports 10 bit, in and out.

(i’m starting to doubt the IO only 10 bit playback thing myself…)

i’ll investigate it a bit and write more.

hector

Hector Berrebi
prePost Consulting

[Hector Berrebi]

[Hampus Lager] “Weird… Cause I’ve seen the green 10-bit icon a couple of times on software only…”

are you sure the copies were legit?

it is possible the manual is outdated.

anyway, this is only a playback option.

i believe if you AMA or fast import with 10 bit formats, it is preserved when you go back out to a 10 bit format. not sure what filters and effects do and how they mess with it.

BTW… on a MAC, with version 6, you can fast import ProRes files to PR MXF.

hector

Hector Berrebi
prePost Consulting