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Viewing 1 - 10 of 116 posts
  • James Beattie

    June 25, 2014 at 12:27 am

    I believe you can move the mark by pressing the Alt key.

    James Beattie
    ACSR Elite/Avid ACI, Apple Certified Technician

    Consulting for Workflow and Digital Technologies at Comprehensive Technical Group

  • James Beattie

    June 25, 2014 at 12:25 am

    I had a similar issue on multiple systems at a college.

    This helped:

    https://avid.force.com/pkb/articles/en_US/troubleshooting/Hangs-entering-trim-mode-with-3rd-party-Open-IO-hardware?popup=true&NewLang=en&DocType=1078&q=open%20io&site=&filter=0&subfilters=

    James Beattie
    ACSR Elite/Avid ACI, Apple Certified Technician

    Consulting for Workflow and Digital Technologies at Comprehensive Technical Group

  • James Beattie

    June 25, 2014 at 12:12 am

    The good news? Theoretically, if you have a Dongle of Media Composer that is higher than 4, then it should run 4 just fine. As long as you are licensed higher than you need.
    then you would install MC 4.

    I would put money on the fact that your MC 4 sequence would work just fine in version 8. Unless you have complex effects, like color correction or other 3rd party plugins.

    But if you are stuck on MC4, then a newer dongle than 4 should give you what you need.

    James Beattie
    ACSR Elite/Avid ACI, Apple Certified Technician

    Consulting for Workflow and Digital Technologies at Comprehensive Technical Group

  • James Beattie

    May 12, 2014 at 2:31 pm

    First, how easy are the tools to learn:

    There a many editing systems in the market. Sony makes a great editor and it seems like many other companies come up with a new one yearly. Editing is all about the interface, the experience of the editor and the support. Avid is used in a ton of feature films. Mainly because the phrase, “Slow and steady wins the race.” Avid has rarely been first to market with their technology, but they produce a product that can realiably do the tasks that are needed. If you are editing basic videos for the web then one may scoff at Avid’s interface and wish for something easier. If you are doing a feature film, documentary or longer form episodic, then the Media Composer was built to last. The way it handles memory, the way it deals with media and the sheer years of experience being reliable make it a great product. Professionals use it because it is a real professional tool that many have relied on. Again, not always ground breaking. We always wish for one or more features, but if I am relying on a product the build a career on, the experience of being an Avid editor at least says that you are familiar with the right tools.

    These days, most software operate the same at a core level. Editing, trimming and moving segments of video up and down the timeline. Each has their own verbage and logic, but after a few minutes of tinkering most people can stumble through it. The key point in the interface I would make is that Avid has different tools for inserting or overwriting video. Instead of rippling vs non rippling to be destructive, you have specific tools for each task.

    The key to which software to use comes down to workflow and formats. Avid has a great architecture called AMA that allows you to quickly access camera material and organize it. Avid is a true professional tool that provides support and a reliable experience.

    Learning the Avid interface is pretty simple, but I always think it is best to start the ground running with a quick tutorial or overview from many of the online offerings. The thing I have always loved about Avid is that once you understand the logic, it consistently applies. So compositing, audio and graphics all act the same way.

    Software:

    Avid has had many different versions of software and hardware in the past few years. Let me say what is current first, then we will go out from there.

    Avid Media Composer is the core software. You now only buy Media composer to start editing. Once you know how media composer works, the other software options build up on it.

    Software options:
    Symphony has more high end color correction tools and mastering options (multiple formats for output to 23.978 or 59.94 formats)

    Newscutter has more simplified feature for an on-the run demands of a newsroom, and additional tools to connect to a newsroom automation system. You may be able to operate a media composer, but a news environment is a unique place. They do things in certain ways that add speed to the process. Understanding the editor is one piece. Understand how to publish you files and where to find them when they come in is where the real learning begins.

    Hardware (Avid makes their own video capture hardware, which is nice from a single vendor solution. Avid’s hardware is necessary today to capture and output closed captioning properly. There are many vendors that write to an Avid plugin that allows you to use third party capture devices. Most prefer to buy the hardware from Avid, so there are less issues, but long term as the 4k and UHD formats evolve the third party world will be the best option. AJA is my preferred device, but Blackmagic makes great products as well).

    Nitris DX is an Avid created device that is tested to work with their software in every way.(tons of connectivity for older devices. Composite, component, svideo and analog audio built in. Acceleration and support for 3d applications).

    Mojo DX is an Avid created device that is tested to work with their software in every way. (just what is necessary for a basic device. HD or SD Digital in and out analog output and HDI for an external device).

    Legacy devices:
    Avid DS: An Avid compositing product that positioned itself toward a Flame and Discreet compositing. This product has been end of life’d

    Adrenaline and older Mojo These are devices that transfer video data over firewire. You can do compressed HD on the Adrenaline and Standard Definition on the Mojo. These are end of life’d and new software does not work with them.

    Xpress was an Avid product that was marketed that has less features than Media Composer. When Media Composer became cheaper, Xpress no longer had a market.

    James Beattie
    ACSR Elite/Avid ACI, Apple Certified Technician

    Consulting for Workflow and Digital Technologies at Comprehensive Technical Group

  • James Beattie

    March 11, 2014 at 1:43 pm

    I agree with Glenn, it sounds like an external drive is going offline.

    Are you primarily AMA, or are you importing into the Avid?

    If you are importing files, all Avid files go into Avid MediaFiles folder on each drive. Go into this folder, and you will see an MXF folder, go inside this folder and you will see a !, 2 ,3 (etc) folder. Make sure you don’t have more than about 9000 files in each folder. It may contribute to database voodoo.

    Also, make sure you have around 20% available on each drive, so the database can build. Otherwise that could be a factor as well.

    James Beattie
    ACSR Elite/Avid ACI, Apple Certified Technician

    Consulting for Workflow and Digital Technologies at Comprehensive Technical Group

  • James Beattie

    March 5, 2014 at 12:37 pm

    This is an older post, but Avid Masterclips that have audio and video are shown as a master clip. If they only have audio when originally imported or captured, it shows the audio clip.

    James Beattie
    ACSR Elite/Avid ACI, Apple Certified Technician

    Consulting for Workflow and Digital Technologies at Comprehensive Technical Group

  • James Beattie

    March 5, 2014 at 12:34 pm

    I have seen this when you have the Macintosh audio connected to an external pair of speakers or a mixer. It ends up being a grounding issue. Better to buy an isolation transformer if you want audio out of the Mac to an audio device.

    Start by disconnecting the mac audio if you have it connected.

    James Beattie
    ACSR Elite/Avid ACI, Apple Certified Technician

    Consulting for Workflow and Digital Technologies at Comprehensive Technical Group

  • James Beattie

    March 5, 2014 at 12:18 pm

    Are these titles, or are they really just imported graphics that didnt make it over?

    If you don’t need the Alpha channel, you go to the media tool and it will display.

    James Beattie
    ACSR Elite/Avid ACI, Apple Certified Technician

    Consulting for Workflow and Digital Technologies at Comprehensive Technical Group

  • James Beattie

    March 5, 2014 at 12:14 pm

    There are a couple of ways to address this issue. An a few questions to help get you there.

    A a high level, they are:
    1. Create an AS11
    2. Consolidate media to an external drive, which will create an Avid Media Files folder, then drag your project into that folder and rename it to match your sequence. Consolidating a final sequence will allow you have only the frames you need in the sequence (plus a bit extra, called handles if you wish).
    3. You can use an Application Called Media Mover, that will grab files that were created in your project and copy the media files you used (NOT AMA).
    4. You can use a software called project parking from a company called Marquis. (PC only)

    Now the questions
    Do you use a lot of un-consolidated AMA?
    Are you Mac or PC?
    Do you share a lot of footage from one project to another?

    James Beattie
    ACSR Elite/Avid ACI, Apple Certified Technician

    Consulting for Workflow and Digital Technologies at Comprehensive Technical Group

  • James Beattie

    June 24, 2013 at 7:44 pm

    to transcode a large amount, you can select everything in a bin, or you can create a sequence of all clips, then select the sequence and choose to transcode.

    You should always have 20% of available space on your harddrives. This is a good rule to follow. You can always add more chassis to your system, and the avid will be able to track that material.

    James Beattie
    ACSR Elite/Avid ACI, Apple Certified Technician

    Consulting for Workflow and Digital Technologies at Comprehensive Technical Group

Viewing 1 - 10 of 116 posts

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