[Mads Nybo jørgensen]

Heya,

In all fairness “YouTube/Google/Android” is all Google, or Alphabet Inc. is an eco-system that Apple is invested in. You just have to go to the Google Play store to find the evidence of that:
https://play.google.com/store/apps/developer?id=Apple&hl=en_GB
And yes, you’ll find similar offerings in the Microsoft store.
I agree with Craig about the observation on Vimeo, as that is just one video service that has never really worked for me. Adding, that YouTube is about to, if not already, overtake Netflix as the most watched streamer on your smart TV – which is also a mystery, as I find the the longer adverts that Youtuber videos to get me to hit the YouTube exit button.

Ben, I have the outmost respect for you, and value your straight and head on comments.
But on this I topic I do not agree with you.
Apple has always been a hardware developer first, and cared for software, particularly by third party developers, as a distant second.

Although FCP no longer enjoy the same respect as it used to with some of my clients, it is still hardware first, and software second. The same goes for the development of FCPX – New iPad Pro gave Apple the genius idea that they could turn FCPX into a subscription software, as opposed to buy out. But it was still hardware first, and software second.

This may change with v 10.8, but my Mac is collecting dust, and PPro, Davinci and lately Avid, is taking the lead (on my PC).

For some bigger operations, they run those packages too, but on Apple Hardware.

Same with iPod, iPhone and iPad; hardware first, software was then developed/updated to match.

With regard to the Blackmagic camera – did they just “glue” a double lense onto an exisisting camera body 😉 Or is there something they know about Vision Pro that the rest of us do not know? Either way, as Vision Pro is not your everyday tool, there would need to have been some incentive for Blackmagic to get involved. Not least as us who remembers 3D stereo-scopic production, will know that enjoying entertainment is always more fun when you do it together.

Just an opinion. Which, yes, maybe be a bit more black and white than reality. But it is a valid viewpoint.

Atb
Mads

play.google.com

Android Apps by Apple on Google Play

Enjoy millions of the latest Android apps, games, music, movies, TV, books, magazines & more. Anytime, anywhere, across your devices.

[Mads Nybo jørgensen]

Hey Denver,

Just a had a meeting about a feature film grade on a low budget project that I am supporting.
Cinema Grade came up in conversation by the director, who is also doing the grade.
Took a look at your website, and it has clearly come a long way, so I got impressed too + found this thread.

The rest is history as they say, as I have just purchased the PPro and Davinci PC versions.
https://www.cinemagrade.com/

Looking forward to sharing tips and tricks.

Atb
Mads

cinemagrade.com

Proven Software Gets Cinematic Look

Upgrade your project with a big budget look in just minutes...

[Mads Nybo jørgensen]

Hey Patrick,

Normally in the grading workflow you would ask the PPro editor to supply a “clean” locked master with no VFX on, and iso elements for vfx at the end of the file.

That will not be problem if the effects has been transferred to Davinci, in which case they can be manipulated.
If you need to send the edit back to PPro, you can always XML it. I use X to CC, and CC to X apps on the mac. But, it is highly unlikely that you information from you grade will be carried back, sorry.

With regards to replacing each clip on the timeline, it should be a question of only replacing the clips with effects on. Depending on how many of those that there, even if laborious, should not take up that much time.
Only BIG issue is if your edit is not locked, and you have started to trim or extend clips…

Hope that this helps?

Atb
Mads

[Mads Nybo jørgensen]

Hey Harvey,

What a pain!
Obvious questions are to why the crew did not shoot in 24P?
Not that it will make any difference right now.

However, first it is important to identify where your file is going to be used?
Is it for projection or broadcast?

If projection, you may need 24P.
If for broadcast, it is likely that they want 23.97 fps.
(Evidently, there is an extremely small difference in playback between the two)

Might be worth asking client if they know why 24P was stipulated?
It might be that they used to shoot on film, but that this framerate is not relevant to the end destination for a digital file.

Worst case, export out at maximum quality in 23.97 fps, then take the file to Davinci or similar and put it in a 24P timeline and hit export.
I found this Reddit that might help you.

https://www.reddit.com/r/davinciresolve/comments/126e3yw/convert_timeline_frame_rate_from_23976fps_to/

Hope that this helps?

Atb
Mads

Convert timeline frame rate from 23.976fps to 24fps without retiming audio
byu/Bucketly indavinciresolve

[Mads Nybo jørgensen]

Hey Noam,

If you are used to Canon, I would suggest that you stick to Canon.

Just checked the specs between the two on WEXphotovideo.com:

Sony:
Rеаlіѕе уоur сrеаtіvе аmbіtіоnѕ wіth thе bеаutіfullу соmрасt Ѕоnу РХW-Z90. Сарturе brоаdсаѕt quаlіtу 4К fооtаgе іn ХАVС QFНD аt 100Мbрѕ, wіth rеѕроnѕіvе Fаѕt Нуbrіd АF thаt trасkѕ fаѕt-mоvіng ѕubјесtѕ wіth еаѕе. Ѕhооt, еdіt аnd vіеw НDR соntеnt іn НLG wіthоut thе nееd fоr аddіtіоnаl соlоur grаdіng. Іtѕ рrоfеѕѕіоnаl-grаdе соnnесtіоnѕ іntеgrаtе ѕеаmlеѕѕlу wіth уоur ЅDІ рrоduсtіоn іnfrаѕtruсturе.

Canon:

Flехіblе Rесоrdіng Орtіоnѕ

Аdарt tо аnу ѕіtuаtіоn thаnkѕ tо а ѕuіtе оf rесоrdіng fоrmаtѕ аnd орtіоnѕ. Uѕеrѕ hаvе thе орtіоn оf ѕhооtіng іn Саnоn’ѕ оwn рrеmіum ХF-АVС fоrmаt оr іn thе ѕmаllеr аnd unіvеrѕаllу ассерtеd МР4 fоrmаt аt dіffеrеnt rеѕоlutіоnѕ аnd bіtrаtеѕ. Whеthеr thаt іѕ 4К UНD 160Мbрѕ аt 25р оr Full НD 17Мbрѕ аt 50р, thеrе іѕ а rесоrdіng fоrmаt fоr аnу рrојесt. Fоr рrоfеѕѕіоnаl brоаdсаѕtіng, thе ХА65 аlѕо fеаturеѕ 3G-ЅDІ оutрut fоr ѕесurе, hіgh-quаlіtу соnnесtіоn оvеr lаrgе dіѕtаnсеѕ.

Тhе ХА75 аlѕо bоаѕtѕ numеrоuѕ іnрutѕ аnd оutрutѕ fоr рrоfеѕѕіоnаl ѕеtuрѕ. Fоr сарturіng рrоfеѕѕіоnаl аudіо, thе саmсоrdеr fеаturеѕ twо ХLR tеrmіnаlѕ, а 4-сhаnnеl lіnеаr РСМ аnd а buіlt-іn mісrорhоnе. Duаl ЅD саrd ѕlоtѕ аllоw uѕеrѕ tо еіthеr ѕіmultаnеоuѕlу rесоrd оntо twо ѕераrаtе саrdѕ оr tаkе аdvаntаgе оf rеlау rесоrdіng whеn ѕhооtіng fоr ехtеndеd реrіоdѕ.

What stands out is the Canon 160Mbps v Sony 100Mbps recording in 4K.
There is obviously when considering the quality of footage, many other factors to take into account. Including what editing software you use and what is the final means of distribution?

Just an opinion, there will be others here that has better knowledge.

Atb
Mads

[Mads Nybo jørgensen]

Hey Fareeda,

If you already have a version of Avid Media Composer running well on the system, and that you are not under pressure to upgrade, I suggest that you stick with that.

There is every chance, if not done right, that you databases could get corrupted + that your iMac might never run the new version of Avid. And, then there is the cost of software and maintaining a subscription.

If you can afford it, might be better to upgrade your hard-ware at the same time.

Apple M4 chips are coming through the system, depending on your budget.
But Mac Mini also offer a good entry, although don’t know if they can run Avid software.
If you do a qucik search, your 5K iMac might be able to act as a monitor, saving you a bundle of money on that account.

Bottomline is that if ain’t broke, do not fix it.
If there is a demand for you to use the latest version of Avid, then make sure to charge your clients accordingly. Keep in mind that Avid does have a monthly subscription plan, that will allow you to balance your costs on the rental (Annual subscription is more cost effective, unless you are working full-time).

Atb
Mads

[Mads Nybo jørgensen]

Hey Rob,

There is a number of ways that you can do this, but for Mac I have only found https://ffmpeg.org/.

There is a nice thread on Reddit:
https://www.reddit.com/r/VideoEditing/comments/p3fc61/how_do_you_add_chapters_to_a_video_file/

It is likely that you then have to find a universal player that will read the chapter points too…

Hope that this helps?

Atb
Mads

ffmpeg.org

FFmpeg

FFmpeg

[Mads Nybo jørgensen]

Hey Fareeda,

There is already an identical system specs question about installing Avid on Reddit from 18 hours ago.
You can read it here:
https://www.reddit.com/r/Avid/comments/1dfk24p/should_i_install_avid_media_composer_20242_on_my/

My comment is that you have a nearly 10-year old iMac you have, so normally I would say no.
Ram and Screen is ok-ish, but processor is slow and OS is outdated.
However, if you are editing off-line, it might just work for you. If the software allows you to install on an old OS.

There is only one way to find out, and that is to install it.
Avid will give you a free trial.
WARNING: Do NOT install Avid MC “First” if you intend to move up to the full MC version, as the the MC First project data will not open in the paid for versions.

Hope that this helps?

Atb
Mads

Should I Install Avid Media Composer 2024.2 on My Late 2015 iMac?
byu/CoachDue2436 inAvid

[Mads Nybo jørgensen]

Hey Tim,

Yes, it would be nice if there was a smarter way of editing transitions inside Premiere Pro, like using belzier.

However, do consider using presets if you make up your own.
These will allow you to custom create your own transition and save it in the preset panel.
Adobe has got a guide for saving them here.
https://helpx.adobe.com/uk/premiere-pro/using/effect-presets.html

There is also a large number of plug-ins, and preset providers, who might straight out of the box offer you what you are looking for.
Some have free versions, just need to go search for them.

I use BorisFX, MotionArray and Cinepunch – it is a bit like deciding on your streamer what to watch, rather than watching an actual program – as in that you can spend a lot of time looking through all the variations, without actually doing any work 😉

Atb
Mads

[Mads Nybo jørgensen]

Hey Paul,

Admittedly I am stabbing in the dark here as I don’t have a deck in front of me.
And, once you find the solution, it is likely to be something very simple.

A couple more things to try.
Is the VTR set to REC INHIBIT ON?
(PDF page 22 in manual: Toggling between lit/flashing settings is possible using the VTR SETUP menu item 104 “REC INHIBIT LAMP FLASHING”.)

“5-1-2 Selecting Audio Signals” (Pdf page 118 & 119)

Selecting audio signals to be monitored With the MONITOR L or R buttons at the upper left of the control panel, switch the audio signal output from the PHONES jack and MONITOR OUTPUT L/R connectors as follows.
1. Check the audio level display area in the color display, and make sure that the unit is not in the REC LEVEL/PB LEVEL setting state (with red or blue vertical lines appearing on the left and right of the audio level meter).

The channels for which the signals are currently being monitored are shown by reverse video characters “L” and “R” below the audio level meter.

2. Press the buttons corresponding to each channel, to light the L/R reverse video indications below the audio level meter, and specify channels 1 to 12 with the MONITOR L or R button (both L and R can also be specified).

This setting can also be made using the VTR SETUP menu items 807 “AUDIO MONITOR-L select” and 808 “AUDIO MONITOR-R select”.

This hidden “text” on page 119 might be a red herring, but does suggest that under certain circumstances: If the audio is digital, it will not play on the analogue monitoring….

• The following processes are performed for the selected channels.
– For the input signal, the setting of the VTR SETUP menu item 831 “NON AUDIO SELECT” takes
precedence over that of the menu item 830 “AUDIO INPUT SELECT”.
– For the audio level meters, the whole region lights. Also, below the input signal display, the word “DATA” appears in white.
– The analog audio outputs (output to the MONITOR OUTPUT connector and the PHONES jack) are turned off.
– The audio recording level adjustment itself is possible for the channel for which “NON AUDIO” is selected, but the setting does not affect the recording or playback of DATA.
– Non-audio input channels are selected in stereo pairs.
• When the VTR SETUP menu item 842 “AUDIO INPUT/OUTPUT SAMPLING FREQUENCY” is set to
“96K”, recording/playback of non-audio data cannot be performed.

Page 129:

5-4-5 Playing Back Non-audio Data

Non-audio data recorded on a tape is detected automatically and played back.

When non-audio data is being played back:
• Below the input display in the audio level meter section, the DATA mark lights in white.
• For the audio level meters, all regions light.
• The analog audio outputs (output to the MONITOR OUTPUT connector and the PHONES jack) are turned off.
• The audio output level can be adjusted during non-audio data playback, but output non-audio data is not affected.

Out of interest, is the F6 INS AUDIO button on or off?

On page 137 it describes the editing process using the VTR, which if the wrong buttons are pressed that your VTR could think that it was doing.

Monitoring signals during previewing

During previewing, you can monitor the following video and audio signals on a monitor connected to the recorder VTR:
• Between preroll and IN points: Playback signal of the recorder VTR can be monitored.
• Between IN and OUT points: Playback signal of the player VTR can be monitored in E-E mode.
• Between OUT and post-roll points: Playback signal of the recorder VTR can be monitored.

Depending on the above, it is worth checking menu:

322 AUDIO PREVIEW MODE

On top of that any of the 800 menu items from 807 onwards, could be interesting.

However, if not broke, do not fix it…

Hope this might help.

Atb

Mads