[Matthew Skeris]

You can map Edit/Deselect All Tracks to any available key, using the command palette.

[Matthew Skeris]

Moving clips to and from the Source monitor is fast, but does gets you back in trouble just as fast. IMO, the very best way to slide and snap highlighted segments is to use Trim mode’s Slide function. It has the advantage of allowing you to move and continually tweak your clip placement without losing those dissolves to Filler. IMPORTANT: by setting up your rough edit timeline with extra video & audio tracks, you will have ample room to checkerboard clip segments, which solves the problem your were describing. Good luck and have plenty groceries!

[Matthew Skeris]

I tried using this feature about 3 years ago and ran into the same unanswerable question. As I recall, this complicated Script feature did not permit cut and paste modifications to the
Script once it has already been “integrated” with text and images.
“Changes? You want to CHANGE something?
Get out of my editing room, NOW!!!!!!!!!!!!!!!!!!!!”

Maybe they’ve improved on it, but I doubt it.

[Matthew Skeris]

To see your own custom text on your timeline clips use the “Add Comments…” feature on your Sub-Sequences. (I assume this is available on Xpress, too) Make sure your Timeline’s Fast Menu has Comments enabled in its view.

How to do it: Take one of your Sub-Sequences and load it into Composer. Use Red Segment Arrow to highlight it. Then reach for the “Add Comments…” feature somewhere near the top drop down menu.
You’ll get a Text box you can typo into, or Paste into (*probably).

AFAIK, the text you enter there will always appear on the timeline clips used in your Sub-Sequence when you edit from that Sub-Sequence into your edit sequence. You can type your Sub-Sequence’s bin name there, but it won’t “update” if you move it into a different bin, or rename the original bin. Check it out!

As an aside, check out the Match Frame and Find Bin feature if you are not familiar with them.

Good luck

Matt S.

[Matthew Skeris]

grinner- my holistic chiropractor gave me some advice– just use Vioxx
once in a while and if you’re lucky (like me) shooting pains & numbness
can go away.

[Matthew Skeris]

Thanksomuch,Michael.

[Matthew Skeris]

Michael-

I was wrong about Avid stepping– yes it is Field 1 we see when parked.

I’ve been looking at some high-motion moments in my 24P footage. When I step forward field by field, I can see that only 1 in 5 frames are composed of two different fields. The frame that follows contains two identical fields which match field 2 from that “interlaced” frame. The frame before it contains two fields matching field 1 from that “interlaced” frame.

I’m hoping this pattern indicates the footage was indeed shot in Advanced mode– a friend told me Standard mode footage would contain two sequential “interlaced” frames in roughly the same period and as a result, there will be one 24P frame that does not exist in both fields of any particular 29.97 frame.

[Matthew Skeris]

Thanks for your website and “24/7-24P” support, Michael.

I have stepped thru my 29.97 footage one frame at a time– it’s my understanding that all avids park on field2– could we
see an Advanced or Standard 24P distinction if we advanced one field at a time, instead?

The link you provided for 60i Conversions to 24P uses “Fluid Motion”– is that now a feature of XproHD’s Timewarp?

[Matthew Skeris]

Thanks for those tips.

As I step one frame at a time in my 29.97 project, I find that every 5th
frame is a repeat of the fourth frame. Does this confirm that my source footage was shot in 24P Advanced?

What are you saying about a 24P Project? Can I NOT import 24P Standard via firewire? Also- what should I do to my handful of 60i sources to get them into an avid 24 project?

[Matthew Skeris]

Good stuff, Michael.

Here’s my question: I have firewire/captured Panasonic dvx-100 24P masterclips into a 29.97 project. How can I verify that the footage is 24P advanced or 24P standard?