Michael Hancock
Forum Replies Created
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Yes.
Also, Avid can do OMF or MXF on Mac or PC, but you have to change your Media Creation settings to OMF. With version 3.x onward it defaults to MXF.
Michael
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[Jen Milano] “we are running QT 7..”
You should be on Quicktime 6.5.2 if you’re running Media Composer 2.1.8. Check the version matrix here:
https://avid.custkb.com/avid/app/selfservice/search.jsp?DocId=267087
That may be part of the problem. Also, have you tried selecting just a short portion of your sequence and exporting that? Set your export options to Use Marks and Use Selected Tracks. If you can export just a small portion then it’s likely corrupt media in your timeline like was suggested. If that’s the case you need to find it and replace it (recapture/rerender/reimport).
I’d start by rolling back Quicktime to the right version and trying the export again.
Michael
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Windows reads and writes to NTFS. Mac can read it but can’t write to it without translation software (like Paragon).
FAT32, as Shane noted, is the only disk format that’s read/write for both PC and Mac. The 4GB file limitation, though, makes it impractical for most video situations.
Michael
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[grinner hester] “I just got back from a week long shoot in FL with the Hillstrand Bros. from the Time Bandit. Freakin cool dudes.”
That’s awesome! Small world too–Andy Hillstrand has a horse farm about a half hour from where I live, and I edited a Deadliest Catch story on him and his brother a few years ago when I was in news. I never got to meet the guy, but judging by the footage and interviews he seemed super cool and down to earth. Congrats on the new friends Grinner, and the deadliest catch bit too!
How long would you be shooting? The show always makes it look like a few weeks, but they’re out there for a few months at a time, aren’t they?
Michael.
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Redigitize. The attic is just an incremental backup of your project files.
Michael
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[Steve Eisen] “FCP for software.”
Or Edius, Premiere, Avid, I believe Media100 supports P2. Pretty much any NLE except Vegas.
P2 is basically a file transfer. The Duel adapter, P2 store, and the rest aren’t required. But they may make life easier (offloading cards in the field, faster transfers, etc…).
Michael
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Are you in a 720P project? If so, go to your Format tab and change it to SD. Right click on your monitors and uncheck 16:9. You footage should be letterboxed. If it’s not, add a Pan and Scan effect and set your source to 16:9 and your output to 4:3 Letterboxed. That should letterbox your footage–then just export.
You could also switch to SD and transcode your footage to SD.
Michael.
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To export audio–mark and In and Out around the section you want to export. Activate the tracks too. With the sequence active, go to File–Export. Hit the Option button and change it to export audio (wave or aiff). Hit ok, choose where to save it, hit OK.
Note, if you choose to export several tracks at once it will mix them down. So you want want to do 1 or 2 tracks at a time, depending on if you have mono or stereo.
Regarding your video–we need some system specs. Mac or PC? Graphics card? Driver for that card? It’s likely an unsupported card or the wrong driver version.
Michael
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A lot of it, I believe, has to do with what they do to the file they’re deliver. Some of the stations are using FlipFactory, others are using ProCoder. One station requires Mpeg1 layer audio while the rest require Mpeg2, but nobody has very detailed specs to get spots to air right. Instead they all request mpeg2 files but give no specs on field order, audio encoding, and so far I haven’t been able to provide a spot they can play directly from their servers–they all go through another encode regardless of what you send.
One cable provider is terrible about it. We had a spot that had the last second and a half cut off–it was tracked back to an error on their end. I talked to another guy in town and his spots were cut off if they faded to black–remove the fade and it fixed it (again, it was a problem on the cable side, not the file they were given). I’ve seen 4:3 non-anamorphic spots gets squeezed as though they are anamorphic, and I’ve also seen the 4:3 stretched to fill 16:9 too. Field orders are a mess–if I submit a file lower field first it sometimes gets reversed on air, other times it doesn’t. Submit upper field first and the same thing happens–sometimes it’s great, other times it’s not. Not sure what’s going on with the color levels but they’re all over the place too. I’ve seen my spots go out looking gorgeous and on air they’re almost stripped of color, or grossly oversaturated.
I’m not sure what to tell you, because I’ve talked to the engineering folks too and it gets fixed for a bit then something changes and it’s a mess again. If you submit Beta they run it through an converted into their encode system and it flips it from there, but I wouldn’t be surprised if their Betas are all feeding composite.
If you ever figure out what’s going on, let us all know. We’ve seen the same issues and are also trying to solve them. As far as HD–I was told WEVV accepts HD file delivery now, but they center cut for playout on their SD channel. Just a heads up on that to keep graphics and framing in mind. I haven’t submitted HD to them so I don’t know how well it works, but I wouldn’t expect anyone else to accept HD for at least another year, if that soon. Although every station has HD capable cameras, their playout servers and the rest of their infrastructures are primarily SD. The economy has killed the HD transitions big time.
Michael
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Unless they’ve made ProRes available for encoding with the release of FCS3, nope. It’s decode only for non-FCP machines.
Michael.
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I’ll be working late.