Kathryn Cates
Forum Replies Created
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Right, we’re still in offline so we are of course not working at optimal quality – but I’m confused as to why the quality would *change* just by doing a mixdown to the same resolution. More intellectual curiosity than anything.
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So at the risk of sounding ignorant, how did we manage to create a subclip from a master clip that doesn’t seem to exist?
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So it turns out that the entire problem was actually an exceedingly basic issue of corrupt database files. Deleting those files on the source and target drives not only sped everything up, but automatically relinked the master clips to the (moved) audio files. Frankly, probably should have tried that first.
Am curious about Andrew’s suggestion, though, that working at the Finder level is a bad idea. Do I really have to go through Media Mover just to move media files to a new location without consolidating?
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Thanks, Glenn. Yes, definitely want to access the media! Just trying to find a way to move media to another workspace and have Avid recognize it and not sure why it’s not happening. And yes, the level of hangup I am getting from the drive at this stage is starting to feel like a problem as well…
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Hi Andrew – thanks for advice. Agreed – consolidate seems ideal, but to be honest I haven’t had much occasion to need to consolidate media in the past, so it makes me a little nervous (perhaps irrationally so) – especially as there are a) other editors working in the project and b) subclips involved.
The extenuating circumstances in question, such as they are, are that the consolidated audio .mxf files have new names (obviously) and the initial .mxf files I was given were named so elegantly and obviously that I don’t want to change the names if I can avoid it. And I have my doubts that replacing the new consolidated media with the old (better-named) audio .mxf files in the audio workspace would result in a successful relink. (This is where my knowledge of how Avid understands relationships between media and master clips begins to fail me.)
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Hi there,
Thanks for your response! We are working in ProRes. Yes, we used the FCP L&T process initially to transcode and everything was fine, but as an experiment we tried it in RedCine and it looked much better. I could find no documentation about the proper way to replace these files in the project, and I’m sure my guess was wrong. How do I assign reel names to these files? Is that a RedCine process? Many thanks!
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So simple, so brilliant. Thank you!
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My much-belated thanks to you both: the magic answer was indeed an errant mp3 that somehow managed to sneak its way into the sequence. Nowhere near where the problem occurred in the sequence, but once we replaced it it was no longer an issue. So thanks again for reminding me to check.
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No freezes (yet). Yep, this is the only issue (thus far) and it’s audio-only. Your suggestion about the audio sample rate mismatch is a good one and would certainly explain things. I hope you’re right, as I can think of better ways to spend this weekend than dismantling the machine and re-installing the program.
Not at the relevant machine at the moment, but will work on it this evening and will certainly update you with progress (if I make any) if you’re curious.
Thanks again for your excellent suggestions.
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Hi Harry,
Yes, unfortunately mouse-throwing has proven surprisingly ineffective on this matter. My working theory is that there is something about dragging in the audio from the other sequence rather than cutting and pasting all of the individual audio clips into the SD sequence that is confusing FCP. Sadly, proving this theory will involve many hours of watching the entire DVD…was hoping to find a rational X=Y type rule to go by.
(As for the workflow, my tests on this project showed me pretty conclusively that the picture quality was significantly better when I let FCP do the downscaling rather than exporting a native Quicktime and leaving it to Compressor. Counterintuitive, but there you are…)