Kris Anderson
Forum Replies Created
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Man, I am so glad I work in PAL most of the time.
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Sorry mate, you can’t display it in Avid the same way you do in Final Cut.
If I’m wrong I apologise, as I would love that feature too.
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Not untrue at all.
Automation Gain in Avid is not the same thing as just grabbing a fader on the fly in FCP. In Avid, to make an audio volume change you must stop playback. This is not the case in FCP, which was my point. Your point is that you can do what I say Avid can’t, but you must hit the record button to use automation gain… different things.
The OP wanted to know why their adjustments on the mix tool were having no effect. This is die to the track being inactive by having the speaker icon next to the track switched off.
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That’s just how Avid does audio. If the little speaker icon is not ‘on’ then the track is considered inactive. It’s frustrating, especially when compared to FCP where you can drag levels in real time while playing.
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Hi Chris,
If Avid is stopping repeatedly on digitise then it is quite likely it is encountering timecode breaks on the source tape.
Go to your ‘settings’ tab (next to ‘bins’ in your project window) then go to ‘Capture’. Once there, select “capture across timecode breaks”. This will allow Avid to re-cue and keep going if it finds a TC break.
As an aside, as someone who regularly conforms other people’s sequences, it would be helpful to you longer term if you give each TC break a new name. As an example, I use “Tape 01 TC1” and increment to TC2, TC3 and so on for every TC break I find. This is especially helpful when there are multiple instances of the same code on a tape.
Hope that helps.
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Hi Bob,
I’m running 3 x SDI mojo systems (2 x PC and 1 x Mac) and 1 x Mojo DX on a Mac.
I’ve attached a photo of the RS-232 to 422 adapter. Only one of them was labeled with anything at all and it seems to say ‘Data Mate’. The other 3 are just plain black. They cost me $150 each but then again, my local rep charged me $12k for the DX upgrade and 3 months later is now selling it for $7k… so I could well be paying waaay to much for these.
The ‘UUU’ and ‘https://WWW’labels are just labels we put on so we know which end is which. Sorry ’bout the blurred image… iphone.
Hope this helps.
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I run 2 Mac and 2 PC Avids, the PC’s just use the serial port that comes built into the computer… no adapter necessary other than the 232 to 422 converter.
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I have the Mojo DX for exactly the reasons Bob has outlined. I use an Aja HD5DA to split my signal ($500 here) and it feeds the decks and my Grading monitor. The HDMI output goes straight to the client plasma. On a quad core mac with mini-sas array my render times are minimal and not enough to warrant the Nitris outlay. Of course, YMMV, but the Mojo works well for me and I’m doing tight turnaround reality tv a lot of the time.
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I had no idea you could do that. That’s good to know. Unfortunately, with the DX card, the Fiber card and the local Raid card I have no room on this machine for the Kona. Will keep it in mind for the others though!
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Dan, if you are only performing an offline edit then compression and ‘best quality’ is not really an issue. If you have limited space then compress it heavily, if you have lots of storage, back off on the compression for nicer looking pictures.
You’re going to run into trouble if you bounce back and forth between FCP and Avid…. you’re creating a lot of work for yourself that you really need not do. Pick a platform and cut on it until you finish the job would be my advice.