[Larry Herbst]

Asked half of that question last month (Avid -> Premiere) and there were a lot of helpful suggestions, but I waved the white flag before getting any of them to work. You can read the thread here:

https://forums.creativecow.net/thread/45/908186#908326

Again, I gave up. You may be made of sterner stuff, or have a copy of FCP7 you can employ as a conduit.

Really, can you imagine any other product where if you want to switch from one platform to another, you have to buy a third? When my lease is up on my BMW, I plan to get a Tesla Model 3, but will need to buy a Chevy Volt in order to make the transition from gas to electric. Expensive.

[Larry Herbst]

Glenn: not trying to swap out parts. Not hoping to use Premiere drivers to keep Avid from crashing all the time. EDLs are a pretty standard output item going back decades. The inability to import or export standard files is baffling, similar to not being able to copy and paste text between applications.

Shane: Thanks for your helpful insights. “Avid doesn’t do XML” is telling. I’ve attempted to export an XML and an AAF to Resolve, got a timeline where the video showed up but the audio was all unlinked. Tried exporting that to Avid, and Avid gave me the same No List To Process and warning sign.

A trusted DIT suggested using Automatic Duck, but there doesn’t seem to be a plugin that allows for Premiere-Avid transfer. I could go Premiere to FCP7 via XML, and use the Automatic Duck plugin for FCP7 to export for Avid. Alas, by upgrading to High Sierra so that the Avid would be stable, FCP7 is now locked and won’t run.

It’s fascinating to have all these tools — latest versions of Premiere and Avid, and the entire internet with suggestions ranging back over a decade — and I still may have to reconstruct the timeline by eye/hand.

[Larry Herbst]

YEARS later this answer helped save my sanity. AUGH! Was about to output, set my in and out, and decided to make one more tweak. Then welcome to the Bizarro Universe! Took an hour and a ton of web searches, plus restarting the Avid and trying whatever I could think of, to finally find this link here.

I’m grateful.

[Larry Herbst]

An ancient thread, but years later this info still helped me. Pulling a handful of frequencies made my very “open” boom sound more like a more closed and workable lav.

The prior comment about “next time get good audio” isn’t helpful, and frankly angered me. Duh. Next time I’ll wrap the entire space in sound blankets, or next time I’ll rewrite the scene to take place in a voiceover booth. Sure, why not? It’s not like we’re not aware there are sound challenges in a space, and we deal with them the best we can, but it’s not because we’re doofuses that we still have difficulties that we’re hoping to ameliorate in post.

I rented a green screen stage that was very “live”, and the furney pads I had didn’t eliminate all the echo. I should have scrubbed the shoot, obviously.

The focus analogy is inappropriate. That’s user error. If you wanted to be accurate, scold someone for shooting under existing light conditions. “If you want a better exposure, next time use lights!” Yeah, we know.

Moving on….

[Larry Herbst]

Six years later, thanks for the field dominance comment. The joy of using ancient Final Cut 7 software, I have to look for answers that are over half a decade old.

BTW, My issue was importing a graphic from After Effects. It looked fine in the Viewer but jaggy when dragged into the timeline and viewed in the Canvas window. For whatever reason, Field Dominance on that one clip (as described in the browser details window) was “Upper”, so if I changed the sequence settings to Upper that graphic suddenly looked great…but the rest of the video was off. Solution was to re-render that sequence to make sure its field dominance was “None”, and then every clip in the sequence will have the same field dominance and no more jaggies.

Took me a few hours to track this one down. Again, thanks for the help.

[Larry Herbst]

Thank you for this.

It amazes me that a software developer can release a product (even a free one, and yes I’m grateful) where a certain significant population of users will immediately crash right into a wall on first use. I spent an hour just trying to figure out where all the functionality was, downloaded the user manual (which of course just says look, the pages tab is right there, but it’s not) and found myself ready to write off the whole project.

I’m already expecting Resolve to be a painful learning curve, since they hid the keys to the kingdom right from the get-go, and obviously are oblivious to how the most basic functions might not be readily apparent.

Truly, if you hadn’t laid out simple step-by-step instructions, I’d have given up and gone to bed.

I thank you sir.

[Larry Herbst]

It didn’t work on the “bad” files when they were part of the clone of the entire card. It only worked when they were duped into their own private folders. Little prima donnas…. 🙂

[Larry Herbst]

I appreciate your thoughts — I did try to repair the clips in camera, but that option was grayed out in the menu. And the card had indeed been wiped prior to the shoot, so no holdover files or footage there.

I WAS able to get the footage into my project (finally!) by doing two things. One, suggested in another thread here, was to create new folders for each clip that only had the media associated with that clip but retaining the overall file structure. (Inside the new folder was a copy of the Lastclip.txt and a Contents folder, and so on down the file structure, but the only actual media in there was for the one individual clip I was rescuing.) Second, I deselected the preference under Log and Transfer that says “Remove Advanced Pulldown and Duplicate Frames”. I was then able to capture the troublesome footage. Why these particular shots needed this special treatment, I still have no idea.

I can’t believe how difficult this was to accomplish. I nearly paid $150 for Raylight, just because the demo showed it would work and I wanted this problem FIXED. But I stuck at it another hour or so and cracked it. What a nightmare — and again, I don’t feel I did anything wrong in my acquisition. Which makes me even less happy with P2 shooting in the future. I am very leery about the format now.

But thanks again for giving it some thought.

[Larry Herbst]

The only other noteworthy item is a Blackmagic card in one of the slots. I believe I’ve had this issue on my Macbook as well, however, and there’s nothing at all connected to it besides an external drive to capture the footage. It’s MOST puzzling. Any ideas?