Job Ter burg
2
Avid Coins
13
COW Coins
Forum Replies Created
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AMA and File->Import are indeed the two ways to bring files in, although with AMA, it’s a link to the file, not really importing it in the traditional Avid-way. Therefore, the source file itself is not changed with AMA, whereas an import results in a new (Avid MXF) media file.
I don’t think AMA has any rules for how it interprets the color space for source footage, that depends on the AMA plugin that is being used. If you open up those Canon files through AMA, that will use the Canon plugin. Like there’s a separate AMA plugin for Red, etc.
If you transcode an AMA-linked file, then it will become an Avid mediafile in 709 color space.
If you go into color correction mode, you can switch each of the three composer windows to a waveform monitor, and you should easily be able to detect if things look right there.
In general, AMA should take care of color spacing for you.
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Again, the 601-709 versus RGB option ONLY applies to files you bring into the system through File->Import. It is really only meant to bring in computer graphics that have not been created in 601/709.
AMA may use some color space conversions depending on the source format and the AMA plugin that is used, but in general, for a 709 compliant device like a camcorder, that will just be brought in ‘as is’.
The only way to clip levels when importing is if you go through File-Import (or File-Export later on) and choose any of the RGB options offered there.
If you miss the razor blade, just find the ‘Add Edit’ button. Does the same thing, AFAIK (not at all familiar with FCP, but Add Edit splits any segment or track where you want to split it).
Hope this helps.
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The remapping only happens if you go through File->Import, and only if you check ‘RGB’ as a source setting. If you were to choose 601/709, it would leave all levels as they are.
If you are bringing in media as MXF, the Avid will not change the color space, as these files should already be considered to be 709.
If you open the color correction tool, you will probably see superwhites there, going up all the way to 255. You can use the safe limiter or the color correction tools to bring those levels within the legal range.
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1:1 means uncompressed. No compression. Not losless, no compression at all.
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The latter is 10-bit (x), the first is 8-bit.
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No problem. Just went through the process of configuring a PT9 on my portable Avid, and dived into the matter. I found the entire product line setup quite confusing myself.
Note for example that if you buy a new CPTK2, you will get much less plugins bundles than if you buy the old CPTK1, even though the latter is 25% cheaper. I think the upgrade from MPTK to CPTK2 is the best deal, though, IIRC. AFAIK, DVTK2 to CPTK2 gives you more bundled plugins, though.
CPTK1 to CPTK2 is no upgrade, you can just use the old one on PT9, there’s no difference.
Main reasons for me to have CPTK2 over no toolkit are 5.1/7.1 track support, and multiple video clips and video tracks in a session.
Gotta say I love having all those tools available on my MBP.
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Also, you may upgrade the DVTK2 to CPTK2 at reduced cost. This will give you all functionality of PTHD.
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PT9 incorporates all of the features of PT8 + DVToolkit.
Sorry but NOT all features of PT8+DVTK2 are in PT9:
That shows you, for example, that multiple videoclips are missing, as well as replace region, and more.
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That said, I believe it still works. My CPTK for v8 works with v9.
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Divide and conquer.
– Take all mediafiles out of the MXF folder.
– Launch MC. Everything works? Quit the application.
– Add a bunch of media (not too many files) back into the right folder
– Relaunch MC. Everything cool? If so, quit and add some more media, and relaunch.
– etc.Rebuilding databases eats RAM like there’s no tomorrow. If you do it in smaller steps and relaunch, you avoid RAM issues.
Also, Shane is very right: make sure the /1 /2 /3 folders don’t contain more than 5000 files.