[Mads Nybo jørgensen]

Interesting thread, thank you.

I’ve just finished editing a multi-cam interview, shot in 4K. But because of quick turn-around for Broadcast, I told the production only to turn up at my door with REC709 – which they did.

Footage was of high quality, easy to grade, and went straight to a HD master without anything blown out, or up.
(The biggest problem was artefacts generated by Adobe’s new A.I. Audio “improvement” tool(s))

Although I like all the format options that a camera can spew out today, and often the “DOP” insist on shooting RAW or LOG because they can, but not because they know how to get the best out of it. Where as often it is REC709 that works best. Simply because it works straight out of the box (camera-card/SSD) in the PostProduction process.

I know that what I suggest would be contentious to many DOPs and Camera Operators – but until they supply a LUT to match their thinking on set, or sit in on the edit where you are short in time to knock out the master(s), then I am perfectly OK with REC709.

In other words, don’t think that one must shoot LOG or RAW (for HLG 2100 space?) because the camera can shoot it, when the viewer at home, or on their mobile/tablet device, is perfectly happy with what they are watching in HD, or lower resolutions.

Just an opinion on a topic that we don’t often discuss.

Atb
Mads

[Mads Nybo jørgensen]

Hey George,

You are very welcome.

Like Eric, I’ve got the keyboard, but not currently using AVID as customer demand is not keeping up.
Although, and this might soon be back in vogue:
“No manager has ever got sacked for buying AVID”.

If AVID stay away from the generative A.I. they might just have a place in Current Affairs and Documentaries.

Should add, that A.I., sorry, Machine Learning, have a place Broadcasting News for locating clips faster, and improve on audio and video quality.
Just not the A.I. where you get three legged people with six fingers on each hand, in an alien environment 😀

Do come back, once released, and tell us where we can watch your documentary.

Atb
Mads

[Mads Nybo jørgensen]

Hey Fabrizio,

What a pain in the…

Have you done a search on the Avid support forums?
If you do, you will find Chuck Kahn (who you replied to on the other CreativeCow thread on the same issue), has already raised that issue, and got some interesting replies as to why that is happening.

You can read it here:
https://community.avid.com/forums/t/198188.aspx

If that doesn’t work, I know one of the top AVID support companies in the world, but they are based in Denmark and when it comes to storage, they prefer to be there in person.
But maybe they might just know someone “local” to you, who would have the magic touch.
https://in-site.tv/

Hope that you get it fixed.

Atb
Mads

community.avid.com

is deleting _SearchDB_ just a regular thing? - Avid Community

Go where the pros know Avid. A community of creative professionals is waiting to assist you on our Forums. While you're here, brush up your skills with Tips and Tutorials or read up about the latest industry trends in Community … Continue reading

[Mads Nybo jørgensen]

Hey George,

As Eric stated, if you are on Avid First, then you are stuffed.

However, as long as the versions of you Media Composer software matches, it should interchange between the “Standard” and the Ultimate version.

Avid is good at hiding this information, took me a few searches before I found it:

Yes, you should be able to open someone else’s Media Composer project regardless of whether it was created in Media Composer or Media Composer | Ultimate. But if you are on Media Composer | First, sharing projects with Media Composer or Media Composer | Ultimate is not allowed.

The ability to open project files primarily depends on software version compatibility. To avoid any compatibility issues, it is advisable to open projects on the same version/build of Media Composer. This ensures that all of the features and functionality of the project will be available, as newer versions may contain features that were not yet available in older versions.

Although depending on what the process is for completing the documentary, you may want to consider whether the cost of Ultimate, and what that comes with, is not that “much more” than the standard version on an annual deal.

Should state that I come from a long bygone time when Avid was £ 60,000, before even getting out of bed.

So £ 439.00/year, is not alot of money for the overall budget if you are working on a fully funded documentary.

Hope that this helps?

Atb
Mads

https://avidtech.my.salesforce-sites.com/pkb/articles/en_US/Knowledge/Media-Composer-Project-File-Compatibility?retURL=%2Fpkb%2Farticles%2Fen_US%2Fuser_guide%2Fen275293&popup=true

avidtech.my.salesforce-sites.com

Media Composer Project File Compatibility

Media Composer Project File Compatibility

[Mads Nybo jørgensen]

Hey David,

Without seeing a clip, this is suggestions only.

In the past, I’ve had the best experience using RevisionFX. This was on HD footage with flickering black on footage that had been slowed in post. The grader on the feature film, on getting the footage back, stated that he did not think that it could be fixed – it “shot out” for a 35mm cinema distribution release.
https://revisionfx.com/products/deflicker/

You could also look at BorisFX Continuum Flicker Fixer:
https://borisfx.com/documentation/continuum/bcc-flicker-fixer/

And then there is Post Pace who is suggesting this free idea for PPro, which may work for Vegas Pro too:

No Plugin Method, No Cost

There exists more than one way to salvage a flickering up video clip. The first one is the no plugin method which really blew my mind the first time I learned it! So to do this method:

• Duplicate your footage and stack them on top of each other.

• Go to the Effects Control panel.

• Set the opacity of the top footage to 50

• Go back to the Timeline, move the top footage one frame forward, and DONE! Goodbye, flicker!

This method works wonders, as long as your footage does not include motion or any fast-moving object. You can also move this method one step further by stacking three lines of footage, just remember to set the opacity to 67 and 33 on the copied footage.

https://postpace.io/blog/remove-video-light-flicker-premiere-pro/

Hope that this helps?

Atb
Mads

revisionfx.com

DEFlicker - RE:Vision Effects

DEFlicker is your solution for problematic high frame rate and timelapse footage!

[Mads Nybo jørgensen]

Hey Olivier,

Correct me I’m wrong, but your picture looks like Jack Klugman in Quincy, M.E.?
A Glenn A. Larson / Universal Television production, and very enjoyable to watch.

Quicktime player is dead gone for most users using Quicktime library clips, unless you are on an old Mac or PC. Apple decided that the QuickTime codec was not upgradeble and potentially a security risk – WMV as a Windows codec appears to slowly fade into history too.

VLC, not perfect, but still seems to play everything.

Back to “Quincy” – likely to have been shot on 35mm, and then transferred to Video-tape for transmission across the NBC network. Or could in the early days been “projected” out from a film master. As I still don’t know where you have your file from, one can only guess that at some stage in the transfer from analogue to digital, that the engineer got the settings wrong.

Short answer based on a qualified guess: You are seeing a fine picture everywhere else, because you are likely playing only a 1/2 frame (field) of the video in the monitor, including on the master monitor (some might call it half-resolution progressive 🧐😀). Where as the Sequence is happily reading the fields “wrongly”, which is why you only get the surprise when watching your exported clip.

My suggestion is that you set up a subequence showing only one field, and drop the problematic clips into that, before overlaying onto your current master Sequence. Hopefully the good and “bad” footage will come out without the blocking on them.

There are plenty of other ways to fix this, if that doesn’t work.

Atb
Mads

PS: This might be of help:
https://helpx.adobe.com/uk/premiere-pro/using/interlacing-field-order.html

helpx.adobe.com

Interlacing and field order

Learn to convert progressive to interlaced video in Premiere Pro.

[Mads Nybo jørgensen]

Hey Olivier,

Is it correct understood that the source footage plays back fine, without the large banding on it?
And is it a specific file that gives you trouble, or is it random when it is happening on exporting the Sequence.

Out of interest, why are you exporting to these settings “sequence settings: 420×486, Lower fiel first”.?
Have you tried other Sequence output settings, to see if you get the same result.

Can you post an actual video clip to look at, as a still does not give the whole “picture”.

Atb
Mads

[Mads Nybo jørgensen]

Still Wonky…

Currently dealing with On-Line on a project where all the proxies were created, turning the mono audio track into stereo on the Proxy. So I am currently faced with manually replacing all the clips across 28 minutes of off-line edit.

And, I am not even using the camera audio – but Adobe PPRO wants the files to match.
I kind of understand why, but then I don’t.

Shall share if I find a “quick” solution to that problem.

Unless someone here already has the answer?

Thank you!

Atb
Mads

[Mads Nybo jørgensen]

Hey Dan,

You are going to face some hard choices when exporting your work for Social Media, not least as you will either need to use Pan & Scan. Or, accept black bars on your video making it miniscule small to view on a smart-phone or similar.

Avid is useless with their MC support – first up in search was a post started back in 2005.
However, Google Search spewed out this YouTube tutorial, which I have not watched. But the text “on the can” has all the right words in it:
https://www.youtube.com/watch?v=d2Xszcoys-c

Courtesy a client of mine who shared this great resource from Sprout Social + if you look for it, there is also a page for thumbnail and photo sizes hiding on that website:
https://sproutsocial.com/insights/social-media-video-specs-guide

Good Luck!

Atb
Mads

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[Mads Nybo jørgensen]

Hey Brian,

There is a whole list of issues that could be what is going wrong.

Not that you want to, but have you tried to render out the project in smaller chunks, to find the specific frames or videos that are creating the problem?

As Apple gives this advice:

If you see “Video rendering error: 10008” or “Error: RenderFrameAt returned: # for absolute frame: #####”

If you receive one of these alerts when trying to share your project, it means that the clip shown in the alert is unusable. The clip name and its timecode location are displayed in the alert so you can locate the unusable clip in your project.

To correct this, import the source clip again into Final Cut Pro. Before importing media into Final Cut Pro, always back up source media by creating a camera archive. By doing this, you’ll always have a fresh copy available to reimport if necessary.

If a backup or Final Cut Pro camera archive of the source media isn’t available, you may need to record the clip again. Before recording, check with the camera manufacturer for any firmware updates for your camera.

https://support.apple.com/en-gb/HT207791

If you haven’t already done it, maybe trash your preferences to see if that makes a change?

Finally, check your drives, and how full they are?
And, depending on whether they are HardDisk or SSD, maybe there is a bottleneck or something else that gets in the way.

I’m sure that there is smarter people around here with a better answer

Atb
Mads

support.apple.com

Import into Final Cut Pro for Mac from file-based cameras

In Final Cut Pro for Mac, import media from a file-based camcorder or device, or insert a device’s memory card into your Mac or a connected card reader.