[James Patterson]

Get over it, FCP 7 is dead and it’s not coming back, but to be honest if you just want a similar UI to 7 then the move to premiere should be straight forward. In any case I’ve always set FCP and Avid up as similarly as possible and Premiere is even more flexible with keyboard controls.

Not sure where you’re based but in London all the agencies are switching from FCP7 to Adobe.

Best

Paddy

[James Patterson]

I’m not sure what’s going to happen in the next 12 months, Apple is probably quite happy with the take up of X and people that use it really like it. I would say also that most of the articles I read about X are positive with cries of “not professional” in the minority.

What I have seen in London over the the last 12 months is quite a large switch to Adobe CC, those that use Avid are staying still but places that were on Legacy are going to Adobe in there droves.

Best

Paddy

[James Patterson]

I thought the video clip would be enough to show that my tongue was in my cheek 😉

Best

Paddy

[James Patterson]

Yes there aren’t any fast plays in football.

https://www.youtube.com/watch?v=JjD6Dv7gGs8

Best

Paddy

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[James Patterson]

Hi Charles,

The 3rd party plugin world for Avid is quite limited in comparison to FCP but IMHO people often overlook Avid’s built in effects. For comp and keying I would strongly recommend spending some time using getting to know Animatte in conjunction with the Paint Tool. The Paint tool in particular is very powerful, and there’s also BCC composite if you need more parameters. You’d be amazed at how many times clients have asked me to do a quick comp reference for a VFX artist and then be surprised that it can all be done in Avid.

Best

Paddy

[James Patterson]

You have to de-select when you match frame back (see pic) Just be aware that if you’ve kept the scratch audio on your sync clip you’ll have to de-select those audio tracks as well.

Best

Paddy

[James Patterson]

Hi Adam,

Does the footage come back online when you relink? Is there any possibility that some clips might have been transcoded to internal drives on your machines rather than on to the 800 drives? It’s an easy thing to do when bringing in footage over different periods, especially with the way that when you open up the consolidation window and where it labels available drives one will show up as bold even though you have to click and select which drive to transcode to.

On some old consolidated projects do occasionally have 1 or 2 clips show as offline when I boot up the project but they always come back when I relink.

Best

Paddy

[James Patterson]

I have the same issue when moving projects between suites with two monitor set ups with differing screen resolutions. My fix is to select ‘close all bins’ from the windows menu, (although this is usually greyed out until I open an un opened bin first) then when I open the bins they open as normal.

Oh, and with the two window method, if you mirror the screens it forces all of the bins into the centre of the screen.

Best

Paddy

[James Patterson]

I just read your post again and I missed that you transcode before bringing the files into Avid, this maybe where the problem is occurring. Do you have all the up to date AMA plugins because you should be able to AMA link to the AVCHD files.

There’s a vid on the workflow here.

https://wideopencamera.com/just-the-cut/avid-media-composersymphony-6-sony-nex-fs100-complete-workflow-11min-guide/

Best

Paddy

[James Patterson]

Are you exporting an H.264 straight from Avid? What happens when you export a DNx? If you need H.264 I would always recommend exporting a high res (or quicktime ref) and compressing in squeeze or what ever encoder you prefer.

Best

Paddy