Jon Zanone
Forum Replies Created
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Sometimes offline footage can happen because the computer is turning off the device in an effort to save energy. Try going into the Device Manager, flip down the triangle to the Universal Serial Bus Controller, and right click on one of the Generic USB hubs – go to the Power Management tab and uncheck ‘Allow the computer to turn off this device to save power’. You’ll need to do it for all the hubs you have installed that have the power management tab. I’ve found it helps when I’m having drive issues.
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Resolved… in Resolve, so to speak.
Turns out my camera scratch audio track was very low and DR couldn’t sync – I had to manually sync. In the media page, load the video you want to sync. to the right of the clip viewer is an audio meter, and just above the meter is a label ‘Meter | Waveform’. Click the waveform label and you can inspect the video’s audio waveform. Now here’s the tricky part. Leave the video in the monitor and click ONCE on your good audio. You’ll see the waveform change to the good audio. Scrub both audio and video to the sync point (in my case I had a clapboard). Below the audio viewer there is a small ‘chain’ icon. Click that, and VIOLA! Your awesome video is now sync’d to your superb audio. Pro tip – ‘Alt + B’ creates a subclip.
HTH,
Jon
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I’ve tried Right-clicking on the clip (and the folder the clips are in) and selecting ‘Auto Sync Audio / Waveform, as well as timecode’. Timecode works but I can’t work out the offset to get the clips to line up. I’ve used the cut page – it works for some clips and not for others. Oddly, some of the clips that wouldn’t auto-sync will sync on the cut page. Of course I’ve built a timeline and lined them up visually.
It seems very random and I can’t figure it out.
Jon
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Were you going to pay him for the work?
If so, it sounds like you need to find another editor…
I remember Avid’s marketing line from a few years back – “change your mind without losing it”, or something like that?
Sorry for for my lack of post-Christmas charity…
Be curious, not judgmental.
Walt Whitman -
Unless you have extremely limited storage space, it shouldn’t be an issue. It’s always good to have options – if you decide you want to key your graphics you won’t have to reinvent the wheel.
Jon
Be curious, not judgmental.
Walt Whitman -
There’s a button that has a 4 and what looks like a cross (it’s supposed to be a fader). Click that and you’ll see the rest of your audio controls.
Jon
Be curious, not judgmental.
Walt Whitman -
When you say import, how are you bringing P2 your system? My workflow uses the File>Import P2> Clips to Bin method. There is no color mapping involved – it is what it is. Maybe your project settings are different from your media settings?
Jon
Be curious, not judgmental.
Walt Whitman -
I’m not saying this is the process. It’s a way to get video from cameras not supported by MC. If you’ve already gotten the file into MovieMaker it should be on your hard drive – probably ‘My Movies’ or something like that. It should probably also be an .avi, depending on your export settings. MM, as I recall, uses ‘high quality’, etc. in the import settings. High brings it in as an .avi. Open MC, then your project, and highlight a bin (or create one). Go to File>Import, and navigate to where your .avi is. If the file is not a .avi, you’ll either have to re-import to the highest quality setting or use Sorenson to convert to a compatible Avid file.
Your mileage will vary. I’ve used this method to get some HD-variant stuff from a consumer camera into the Avid. Since I was editing in SD, there wasn’t a noticeable difference in quality.
Jon
Be curious, not judgmental.
Walt Whitman -
Do you have any control over the quality of the import in toast?
Be curious, not judgmental.
Walt Whitman -
What’s your quality setting? It’s a little green / yellow / yellow-green button at the bottom of the timeline. Click on it until it’s full green.
Be curious, not judgmental.
Walt Whitman