John Pale
Forum Replies Created
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Coming from other NLEs, many people miss that clip gain and automation gain (aka keyframes/rubber banding) are independent of each other. So you have two levels of volume control. Premier Pro CC now has this too, but FCP does not.
You also need to make auto gain visible in the timeline to set keyframes. Use the “hamburger” menu in the lower left corner of the timeline.
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Use Adobe Media Encoder or Adobe Prelude instead of Quicktime Pro to make your selects.
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You can also add Automation gain (audio keyframes) which are independent from the audio gain ..
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What is the frame rate/format of the footage.
I had a disk shot with the F5 not work at all via AMA that was shot at 1080p50.
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Make sure avid is using the correct AMA plugin. You can select it manually rather than leaving it at the default setting of Auto.
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Not sure if it will work for you to switch NLE’s, but the Avid 6.5 and up have J2K as a standard codec option .
Of course, Avid does not create Quicktime Media for editing, but rather wraps everything as MXF. But you can capture or import as J2K and export Quicktime same-as-source.
This might become an overly complex solution, but it might be worth exploring.
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Keep in mind, you can load your selects sequence in the source monitor. Drag it there, don’t double click it.
You can toggle to see the source as a timeline by clicking the source/record button at the bottom left of the timeline window. You can edit from the source selects timeline into your main sequence just like a clip…unlike FCP, the clips do not become a nest and retain their “individuality” -
1) cmd/ctll + shift + a deselects all tracks. Select the ones you want. Not exactly what you want, but easier than what you are currently doing.
2) click the m button next to your track selector, M is mute. S is solo. You may have to make your tracks larger to see this buttons, if you made them very skinny.
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Mark clip (set in/out around clip)
Alt copy loads clip in source monitor. Edit clip where you want it.
Not one step, like alt-drag, but I do it so fast, I don’t even think about it.
Maybe someone else has a better way.
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In most cases, I find its best not to transcode to a different frame rate and let Avid Mix and Match do it thing in the timeline in real time. I have had instances where the transcode got the pulldown wrong and baked it into the new file. If you let Avid deal with it on the fly instead, you can adjust the cadence in the Motion Effect Editor.