James Beattie
Forum Replies Created
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Avid only requested that you tweak these settings when in 32-bit. Now that the application is 64-bit it does not need to be tweaked, according to Avid technical folks.
The Avid application will not use more than 12GB of memory (Which is maxed out in Stereoscopic mode), the rest is overhead for the machine and 3rd party apps.
James Beattie
ACSR Elite/Avid ACI, Apple Certified TechnicianConsulting for Workflow and Digital Technologies at Comprehensive Technical Group
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I agree. And node based effects. When you need them they are great. And it would help make the system more distinctive.
James Beattie
ACSR Elite/Avid ACI, Apple Certified TechnicianConsulting for Workflow and Digital Technologies at Comprehensive Technical Group
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Protools is really the most logical answer. You can easily export an AAF, tweak it, then bring it back in. Going sample based is definitely a long standing request. The biggest variable in going sample based is the requests or IOps on the drive or shared storage system are significantly more than simply frames. Protools 10 changed a lot of that around, so maybe Avid can take advantage of that in the future.
I work with a lot of news organizations, and most of the time you trim it close with a frame and make it work and dissolve to try and make it perfect. That is usually fine for the 5:00 news, but if you are doing a Doc then it obviously needs to be clean.
Typically the workflow is that you create your edits as tight as possible, then toss your audio with your linked video to protools and have it dialed in properly.
James Beattie
ACSR Elite/Avid ACI, Apple Certified TechnicianConsulting for Workflow and Digital Technologies at Comprehensive Technical Group
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I searched, and this may help. I do not know Resolve enough to walk you through the steps.
I do know that the AAF integration is basic, and it can’t have any effects from Avid.
https://www.premiumbeat.com/blog/overlays-external-fill-davinci-resolve-9/
James Beattie
ACSR Elite/Avid ACI, Apple Certified TechnicianConsulting for Workflow and Digital Technologies at Comprehensive Technical Group
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The tools are Vertically selected. Try making your video track larger (by selecting the tracks, then pressing Ctrl+L or Command +L). Then move vertically at the edit point.
You should see it select Red or Yellow based on your mouse position.
James Beattie
ACSR Elite/Avid ACI, Apple Certified TechnicianConsulting for Workflow and Digital Technologies at Comprehensive Technical Group
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According to their website, it is compatible. The driver package also installs the driver for Avid.
https://www.blackmagicdesign.com/products/intensity/software/
James Beattie
ACSR Elite/Avid ACI, Apple Certified TechnicianConsulting for Workflow and Digital Technologies at Comprehensive Technical Group
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I agree with Shane.
Make sure whatever card you get has the ability to output analog audio. When you have an output card, Avid will port the audio through that card. We had this problem with the T-tap and a Thunderbolt device. We ended up having to deembed the audio to hear it.
James Beattie
ACSR Elite/Avid ACI, Apple Certified TechnicianConsulting for Workflow and Digital Technologies at Comprehensive Technical Group
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In my experience, I always recommend AJA. Blackmagic makes great cards, but AJA has treated me right. It’s like choosing a Toyota over a Honda. They are both great devices.
The Avid I/O devices are the only way to get closed captioning data in from SD/HD sources reliably. So if this may be an issue, you should consider buying at least the Mojo.
The Nitris has DNxHD and the option for AVC decoder boards. So it does actually accelerate DNxHD and AVC-intra, and pretty much guarantee playback of 2 streams.
If you are buying net new with software, a Mojo with Media Composer software that includes support and 1 year warranty, it is actually cheaper than buying software, 1 year support and an AJA card.
If it were me, I would buy the Mojo DX and put it on a supported Avid computer. Playing with a tested config ensures that any issues you have can be replicated and corrected by Avid support swiftly. In the end it is all about working and making money instead of swapping cards and reinstalling software.
James Beattie
ACSR Elite/Avid ACI, Apple Certified TechnicianConsulting for Workflow and Digital Technologies at Comprehensive Technical Group
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I have had issues with the title tool using different languages. What language are you using?
Thanks for the heads up.
James Beattie
ACSR Elite/Avid ACI, Apple Certified TechnicianConsulting for Workflow and Digital Technologies at Comprehensive Technical Group
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I anticipate the AMA linking is your pain point. I don’t know if you are using internal or external drives, but I bet some of the issue is AMA.
AMA is great for quick review and working with media, but once you start compositing and playing back multiple layers it strains the architechture.
I would recommend transcoding your material into DNxHD to continue working with it. I am not sure of your online strategy, but with dropping frames, your offline is starting to cause headaches.
If you click on your sequence, go under clip and choose transocde, then transcode to DNXHD (many options to choose from, you can go to DNx36, which will be a smaller file, but it is not a finishing file format). This will convert your filed into a lighter codec that Avid is optimized for, then you will notice an immediate improvement.
Again, if you are going to online later, you can relink your final sequence later to the higher resolution files once your edit is completed. Avid 6.5 is much better at this than 6.0.
A lot of folks are running into this as their AMA timelines get more complex. AMA in this instance uses Quicktime to be the engine that plays back in the background, which isn’t as efficient as Avid’s playback engine. You can also simply render the files (like you would do if FCP had these issues). You can add an effect to the top track, and render it. Even if you create a simple PIP that is fullscreeen. This will create a new file that is ready to trim.
The best option is to transcode, it will give you the most flexibility when adjusting edits and you won’t be rendering constantly.
James Beattie
ACSR Elite/Avid ACI, Apple Certified TechnicianConsulting for Workflow and Digital Technologies at Comprehensive Technical Group