Jules Bodenstein
Forum Replies Created
-
Hi Tatyana,
All the modern macbook pros should be more than capable of running FCP, although they may be a little slow rendering I would advise working with offline SD proxies to relieve pressure on the macbook.
The main issue I would have with the 13 inch is the size of the screen. I like a big screen or two while editing and have found it difficult to work sometimes on my laptop which is the 15 inch model.
Either way happy editing!
-
Hi Phil,
Are you using the DSLR footage straight out of the box? The H.264 do not have embedded timecode or reel information which makes difficult and/or time consuming to relink the footage. If this is the case in future consider transcoding to something like ProRes and then using QTchanger or similar to add reel information to the clips before the edit.
Gaz
Workflow Technician
The diROOM
https://www.diROOM.com -
Hi Terence,
I think this could be a result of the dreaded QuickTime Gamma shift. Quicktime shifts the Gamma of footage that should be viewed at 2.2 to 1.8. Throwing the QT through through After Effects to raise the gamma should help (After Effects us a different scale so you want to go from 1.00 to 1.22).
Gaz
Gaz Evans
Workflow Technician
The diROOM
https://www.diROOM.com -
Hi Dirk,
Rather than putting them together on the timeline I would recommend using Avid’s autosync function. I usually use mark in-points rather than markers when using it as its easier to correct the position of an in-point but I am almost certain it would work with markers too.
Just put the audio and video files in the same bin, select both and choose autosync from the clip menu and there should be an option to sync using markers. This will created a new subclip with the video and audio synced.
Gaz
Gaz Evans
Workflow Technician
The diROOM
https://www.diROOM.com -
Hi Brandon,
Even if you choose to edit in premiere rather than FCP I would still strongly recommend editing using transcoded proxies as although Premiere can handle R3Ds if the system it is on is good enough, the the amount of data you would have to read/access while watching the clips would be astronomical and you would also require a raid on which to store everything. A good editing suite using offline proxies can still be expected to crash once or twice a week, I would hate to imagine the number of additional crashes that would occur due to the added pressure on the system of using the R3Ds.
Basically unless you have a phenomenal machine you will save more time by transcoding and then efficiently editing the footage rather than editing the R3D and and having the editing process be slow and laborious.
I would recommend editing using the proxies and then use an AAF, EDL
or XML to relink the project to the original R3Ds after the picture lock.Gaz
Gaz Evans
Workflow Technician
The diROOM
https://www.diROOM.com -
Hi Paul,
Avid projects can move around quite free – I often move projects from Media Composer to Symphony etc. and I believe Studio projects can also be moved to Media Composer. All the important files for the projects will be stored in their own folder titled the same as the project, to share a project you just need to copy this folder to where the system stores the other avid projects and you are good to go (obviously may need to re-link the media if you have changed which drive contains the corresponding media files).
If its just to get things ready for Resolve I wouldn’t think you need anything more than the software version of Media Composer.
Hope that helps.
Gaz
Gaz Evans
Workflow Technician
The diROOM
https://www.diROOM.com -
My gut feeling would be that processing speed is more important than number of cores however to make sure the system is future-proofed for as long as possible I would go with the 6 core HP z400.
Its a very interesting question and I like know the opinion of other members on this.Gaz
Gaz Evans
Workflow Technician
The diROOM
https://www.diROOM.com -
If it is the transition I think it is in that clip it is far more dependent on being shot correctly than any editing trick.
The motion needs to be identical in motion and speed in the two clips then its just a case of cutting at the point which makes the transition feel as smooth as possible. Basically experiment a little with the timings so the transition doesn’t feel too long or short.
Gaz Evans
Workflow Technician
The diROOM
https://www.diROOM.com -
I’d worry for anyone who would edit a feature on any software still in beta.
Gaz Evans
Workflow Technician
The diROOM
https://www.diROOM.com -
Hi Ross,
I would also suggest what Shane suggests but I would also try deleting the avid database files that are with the media (*.pmr &*.mdb) this will stop avid thinking it has scanned and catalogued the media folder so it will scan it when it starts up which will hopefully make it recognise the media.
Gaz
Gaz Evans
Workflow Technician
The diROOM
https://www.diROOM.com