Hello, I have an editor working on a long form series (remotely using Jump Desktop) that is experiencing crashing while renaming bins and switching between applications (ie AVID to Chrome and back, AVID to Slack and back). These issues seem to steadily grow more problematic over time (ie the client was working well on weeks 1-4, not so well during…

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Hello, wanted to ask the community about both in person and online courses you would recommend taking for learning how to grade in Resolve.

Something for a beginner and something for intermediate. Thanks!

Seeing “25” as a metadata value in the Soundroll TC Rate column, and it appears we have audio drift issues with this particular track. We are editing in 1080p/23.976.

We are receiving these music mixes from a recordist, who is bouncing out in PT.

Any suggestions for them or us?

Running MC 2021.12.4 / OS 12.3.1 / M1 Max.

Starting fresh at a new post house and wanting to install the most stable version of
Media Composer – this will be my first foray into using the updated interface after 2018 versions. Wish me luck.

Clients are 2019 Mac Pros running Monterey. According to the matrix we would cut on either 2021.12.4 or 2022.7. Not sure what has felt more reliable for…

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Wanting to simulate a workflow I have experience with in AVID by simply relinking color graded masters. Well it’s not always simple but it was an efficient way of roundtripping. We got around limitations by adding REEL or TAPE names in metadata columns and am wondering if relink in premiere can act similarly.

I’m seeing a lot information out there…

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I would also just throw in that we have had some issues with 2022.5 – (mostly exporting issues), but rolling back to 2022.3.1 has resolved them. Seeing some general complaints about this latest version. Not a huge deal to test and roll back. That said…

We do all of our offline using DNxHD OP1a.mxf and don’t have an issue. I suppose it could be…

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It is worth noting that unless you are editing in full resolution off of your native camera essence (sometimes referred to as raw media – not to be confused with RAW codec), your colorist will also want access to the original raw camera files. Are you editing off of transcodes or working via the Premiere proxy workflow?

The colorist will likely…

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Thanks, Neil. I wonder what people are using then for 10gigE on M1 MBPs? Anyone know?

Two of our clients would fall into this category unfortunately.

Seeing some discussion about the Sonnet cards having MAC OS issues/causing crashes etc. Is this true? Are the OWC cards reliable?

What would anyone suggest for 10gigE terminations to 2021 MacBookPros running Monterey?

Also these all seem like they are backordered. Any advice for procurement?

What drives are you currently using?

I feel like on location drives can be lumped into to two categories, fast shuttle-type SSDs and then RAID storage for some built in redundancy that a DIT would be transcoding dailies off of.

For the SSDs, people like the Samsung T7s and the Sandisk Extreme Pros, BUT they will throttle after continued use -…

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Our company is considering LTO archive solutions and we edit off an EditShare EFS – they are pitching for us to roll in an ARK license (along with a 24 slot Qualstar library) which will have various advantages – namely keeping our asset management under the same roof essentially.

I was wondering if anyone has any experience working with ARK tape…

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Hello there,

Is anyone able to advise on recommended steps for properly desqueezing 6:5 (factor by 2.0x).

Was reading that 6:5 as opposed to 4:3 avoids the need to pillarbox crop:

<i data-stringify-type=”italic”>”Anamorphic lenses don’t actually need the full width of the 4:3 image; they squeeze the 2.39:1 image by a factor of 2, and the resulting…

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Hello – trying to wrap my head around why media creation settings seem to keep needing a reset for each new project I create. I don’t really remember this being the case in the past. Perhaps I am remembering incorrectly.

Is it possible to have media creation settings be pre-established in my user settings, so that no matter what project I load up I…

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You could also try transcoding all the audio to be uniformly one format, on the off chance you have some mixed sample rates in there causing some problems.

Use the convert audio sample rate, convert audio bit depth, convert audio file format check boxes on your embedded preset.

Wondering how people monitor audio locally while using the OpenIO_NDI feature for broadcasting (over LAN or virtual input). Once toggled on, you lose the ability to monitor local peripherals, audio included.

Ideally it would be great to broadcast and still have the ability to monitor the audio in the room (without using headphones), instead of…

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Currently troubleshooting two separate IQs (on the same LAN) suddenly dropping off as soon as the projects page lands after launch. You can see the “Avid Media Composer DNxIQ” on the top of the pane during launch, but as soon as the projects page lands, it goes away. Has anyone experienced something similar?

These two edits have been running…

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MC still doesn’t support HEVC/H265 (which is the codec of your iPhone footage), you will need to create new masters in order link and transcode. Or you can create new masters in Resolve and import via .ale workflow.

Footage sounds great!

Is running MC 2018.12 problematic on Mac OS 10.15?

Apart from going all-in and putting your NEXIS online using AVID’s cloudspace feature, has anyone had any luck using cloud platforms for collaborative remote editing between 4+ editors?

Our reluctance into partitioning part of our NEXIS for cloud usage is more about security than anything – parsing out something that is LAN to our entire shared…

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Hi there Bob – hope you’re well! The Web presenter seems like a great way to avoid toggling the IO using something like NDI (which has been helpful but up to a point for our workflow). The 720p cap isn’t great, but definitely better than a stuttering screening session.

One question though – Is there that standard 5-15 sec delay when using this, or…

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Thanks, Pat – will do!

Academically, is there a reason AVID did not provide a 10bit codec for UHD codecs?

Also while we are working with 4k media we are still cutting in 1080, and will end up creating a mixdown at 175X to transfer to an interlaced project once finished – so I assume our transfer to 10bit there won’t have any color space issues?

Hello,

I am trying to work within a 10bit color space in a UHD project using a native DNxHR codec, but according to the literature I have to either choose the HQ codec which is 8bit or HQX which is 12 bit. Reason being our camera native is in 10-bit.

From my understanding it is discouraged to jump up in bit depth when it is not necessary. my current…

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Thanks, Pat. A guy’s gotta hope – good to know though.

ahh yes everyone’s best friend in this remote bizarro workflow we all find ourselves in – the NDI plugin from NewTek. And pretty handy and versatile if I don’t say so myself.
Trouble is, NDI Open IO doesn’t play very nice on MAC OS, and is only officially supported or available in Avid Media Composer version 2018.7 and newer.
It’s this last hurdle… Read more

Ended up just having them create split tracks for audio to match a full res export. Not the most sophisticated but it beat the troubleshooting I was starting to get bogged down in.
For the record as is indicated, audio AAF out of Resolve does not seem viable.

Hello,
I am requesting a few sequences from a third party who is using Resolve and am wondering what the cleanest methods of retrieving them for use in AVID are?
There’s the AVID AAF method in the Delivery tab that seems promising. My preliminary tests are coming up with some mixed results though.
I know there are export settings to consider… Read more

Hello,
I am requesting a few sequences from a third party who is using Resolve and am wondering what the cleanest methods of retrieving them for use in AVID are?
There’s the AVID AAF method in the Delivery tab that seems promising. My preliminary tests are coming up with some mixed results though.
I know there are export settings to consider… Read more

Fascinating – well that’s too bad. Thanks for the info, Shane!
While I have you, do you have any tips for a crew that is used to working in a PC environment – now forced into using MACs during this remote work period? The reason I was wondering about best performance is because our sequences are getting a bit bogged down with all the extra… Read more

Noticing that while my IO is in use, HW/SW toggled on, I do not have access to 1/16 (Best Performance) setting in my timeline.

Once I toggle off the IO, it shows up as accessible and can work in 1/16.
Any ideas as to why this might be and any workarounds to suggest?
Is there a setting we should modify in BM Desktop Video Setup?
Running MC 2018.9… Read more