[Ed Cilley]

James,

Obviously the best way to do this is to send timecode to all cameras and then sync isn’t an issue. Since that wasn’t done, I’ll explain below what you do.

In answer to your first question about having multiple clips, YES, that would be a huge pain. You would have to go through the process described below for every set of clips – every time someone stopped tape (unless the cameras were set to free-run timecode, then once you find the correlation between all cameras your good). But still a huge pain.

You need to find the timecode sync point for each tape. Unless there is a flash or clap at the beginning for you to visually mark in-points, you will need to find sync another way. The method I have used is to edit each camera to a temporary sequence with audio. V1&A1,A2=Cam 1, V2&A3,A4=Cam2, etc.

Then turning on waveforms and listening to the audio I trim each track to find the sync. Then I match frame each camera.

With the three clips selected, group them and edit into a timeline. Then you can use your F keys (with versions up to 4.x) to cut between the cameras. I have done this with only two cameras and up to four (at least that’s what I did).

Hope this helps.

Ed

Avid and FCP Preditor
_________________________________________________
Anything worth doing at all, is worth doing well.
– Philip Dormer Stanhope, Earl of Chesterfield

[Ed Cilley]

Lori,

As far as the 16×9 question, Jandle was correct, just turn on 16×9. If you are monitoring on external monitors and can select 16×9, do this also.

As an aside, by changing your edit window to 16×9 any text created in the Text Tool will be formatted properly. Otherwise your text will be formatted for 4×3 and when viewed on a monitor (in 16×9) your text will be stretched.

Hope this adds a little more insight – and don’t worry about asking questions, that’s what we’re here for.

Ed

Avid and FCP Preditor
_________________________________________________
Anything worth doing at all, is worth doing well.
– Philip Dormer Stanhope, Earl of Chesterfield

[Ed Cilley]

Frank,
We run ours through SpamArrest.com It sends a challenge email to unknown addressees and allows them to authorize their email. I can also view unverified and authorize. Spam can’t get around this because they use other people’s email addresses and therefore never see the challenge response. I can also add an entire domain. So when I am doing business with a company and expect mail from various people they won’t get the challenge email. I can still look through my unverified mail and pull any real messages out.

They have webmail access or you can use your email program of choice.

To see my challenge – ed at jumpcutpictures.com

I’m sure this is just one of many options.

Ed

Avid and FCP Preditor
_________________________________________________
Anything worth doing at all, is worth doing well.
– Philip Dormer Stanhope, Earl of Chesterfield

[Ed Cilley]

Check out a talent we have used for years…he is also a coach, author, etc.

https://harlanhogan.com/index.shtml

He has a Recommended Reading tab on the side as well as other ideas on his site.

Best wishes,
Ed

Avid and FCP Preditor
_________________________________________________
Anything worth doing at all, is worth doing well.
– Philip Dormer Stanhope, Earl of Chesterfield

[Ed Cilley]

Brendan,

When you import to the Avid, you will have to choose what type of file you want to create. So DNxHD 145 would be a good choice. Avid doesn’t handle the raw file like FCP does. It will create it’s own media clips from your ProRes files.

The problem with this workaround is that you will lose timecode. All clips will start at whatever TC setting you have set in your Avid, such as 1:00:00:00 or 00:59:30:00 or whatever. So this really sucks if you have TC logs.

I’m wondering if you have a short (small in terms of file size) clip you could send my way so I could see where the problem is? If you want, send me an email – ed at jumpcutpictures dot com It would be great if you could just bring the clips straight into the Avid.

Ed

Avid and FCP Preditor
_________________________________________________
Anything worth doing at all, is worth doing well.
– Philip Dormer Stanhope, Earl of Chesterfield

[Ed Cilley]

We just use Media Mover – best $150 ever spent. You can choose which drives to look at, or multiple drives. It will search out all media for all projects, tell you the total size of each project and allow you to move all media for a project to an “offline” folder.

You can then back-up individual projects to LTO (or whatever media you like), or just delete all the folder (and thus the media). All this can be done outside of the Avid so you’re not tying up the suite. However, now that I mention that…this will affect the Media Database, so I wouldn’t perform this function on another computer while an edit is in progress.

https://randomvideo.com/products/mediamover_avid.html

Hope this helps – or at least gives you something to consider.
Ed

Avid and FCP Preditor
_________________________________________________
Anything worth doing at all, is worth doing well.
– Philip Dormer Stanhope, Earl of Chesterfield

[Ed Cilley]

Opps, sorry. With 4.0 you have that choice. On my Mac, MC Software 3.1.3 does not have that option.

Avid and FCP Preditor
_________________________________________________
Anything worth doing at all, is worth doing well.
– Philip Dormer Stanhope, Earl of Chesterfield

[Ed Cilley]

Sorry for the bad post on my part. 1080i refers to interlaced (i). 30p would be progressive, so we will never see 1080i 30p. So I guess the question is, is it 1080i or is it 30p?

When starting a new project you should have the option for 1080p/29.97. This is what you want with 30p.

Ed

Avid and FCP Preditor
_________________________________________________
Anything worth doing at all, is worth doing well.
– Philip Dormer Stanhope, Earl of Chesterfield

[Ed Cilley]

The project settings are established when you start your project. After the project is started, you can click on the Project tab and confirm that your project is 1080i 30p. Your project may be 60i, or some other flavor so you’re getting this error.

If all else fails, try starting a new (maybe temporary) project and look for the 30p option when starting. Once everything is imported, you can transcode to other frame rates, but if all the footage is 30p you shouldn’t have to do that.

Avid and FCP Preditor
_________________________________________________
Anything worth doing at all, is worth doing well.
– Philip Dormer Stanhope, Earl of Chesterfield

[Ed Cilley]

Randy,

It can be done, but the challenge is going to be to find the right version for your Mac.

Avid and FCP Preditor
_________________________________________________
Anything worth doing at all, is worth doing well.
– Philip Dormer Stanhope, Earl of Chesterfield