Mark Spano
Forum Replies Created
-
Lots of third party I/O devices have audio inputs. Blackmagic Decklink cards usually all have at least one pair of analog audio inputs (on breakout). You can use that. Or if you want to get a video I/O that does not feature audio inputs, you can always take the mixer outputs (if they are unbalanced) and plug straight in to the Mac audio input. Then when you want to record, you just disable the video I/O (from the hardware active on/off button inside MC), and then in your Capture Tool you can choose audio input (built-in).
-
Not sure what you’re asking – your screenshot shows that you have removed V3 and A9-12. You must remember that the track display on the right is your timeline, and the track display on the left is from your source monitor. If you aren’t cutting anything in from the source monitor and only want to see the timeline track display, go to the source monitor drop-down menu and choose Clear Monitor.
-
I can guess how it might have happened. Lots of recorders record 4 tracks at a time, and have set that a mixdown records onto tracks 3&4. This file sounds like what you have recovered is all four tracks, but 3&4 got interleaved into the 1&2 track. That might be how Tascam records multichannel audio. I wonder if you reloaded this file into the recorder if it would play four tracks as normal? These are all guesses but I think they’re as good as any.
-
Try Digital Rebellion’s Compressor Repair.
-
You should still be able to AMA link the individual MXFs, using the MXF (generic) AMA plugin. However, I know no solution to having them come in as spanned clips again instead of individually, which is a drag.
-
[Dale Mings] ” I tried what you suggested about the setting in the FF and Rew tab in composer settings, checking the box that reads “ignore track hilight”, but it still pays attention to hilighted tracks. If I have one video and two audio tracks open and hit up or down arrow, it will jump to the edit with the audio.”
That’s exactly what’s expected. MC has two modes of jumping to edit points. One, the default, will jump to the nearest edit point of the selected tracks. The second (when ‘ignore track highlight’ is selected) will ignore whatever tracks you have highlighted and jump to the nearest edit point of any track. One of those methods should work for you.
[Dale Mings] “I’m not sure why you refer to fast forward and rewind, as those are mapped to J and L as it came from the factory”
J and L keys are for play forward and play reverse. I am referring to Fast Forward and Rewind. Those are different keys, and will do what you want (jump to nearest edit without invoking Trim mode). This is a picture of my keyboard settings, along with the command palette, so you can see how fast forward and rewind are different from what are mapped on J and L.
-
check it – it’s the first pinned topic in the Media Composer forum…
https://community.avid.com/forums/t/101235.aspx
-
Just take Shane’s advice. Map the FAST FORWARD and REWIND button to your up and down arrow, and it will function EXACTLY like it does in FCP. If you find it is only jumping to edits on your selected track, open the Composer settings and in the FF/REW tab, choose Ignore Track Selectors.
Snapping works well in MC by holding the CMD key and dragging the play head. It will snap to nearest edits.
You will find that almost anything you originally thought were drawbacks of Avid MC to be huge timesaving benefits.
-
From reading your description, it sounds like you don’t like what the original source looks like (29.97i). You deinterlaced it for the DVD release, and you like this look. Now you’re going back to the original interlaced source you hate and trying to encode it to Blu-ray. Why not use the source you used for the DVD? If you like that deinterlaced 29.97 look, just use those files for the Blu-ray. Blu-ray can take 720×480, 29.97i. So you should be able to feed your authoring software your files. If it balks and the complaint is that they are progressive, I would just bring them into Compressor, tell it you want 29.97i, and let it crunch. Compressor will take your frames and duplicate them into fields, preserving your deinterlaced look while interlacing the files. Those will work for your Blu-ray.
If you feel the need to up-res the source files (doesn’t really make sense since there’s no more resolution to be had), you can use Compressor in the same way, just change the output size to 1080.
-
Time compression/expansion in MC is so cumbersome it’s ridiculous. When you see how it’s done in Pro Tools, anyone would wonder why they just don’t port that over. That said, you could do your TC/E as you are, and then select the clip and do a quick Audio Mixdown. This will immediately ‘bounce’ the rendered clip into a new file on a separate track in your timeline, which has no effect and therefore won’t come unrendered.
