Michael Hancock
Forum Replies Created
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Park on the clip that has the BCC Witness effect on it and open your Effect Editor. Drag the Effect Icon either directly from the effect editor to the next clip you want it on, or drag it to your bin to save it. If you drag it to your bin to save it, just drag it from the bin to the next clip(s) you want it on and it will apply.
If you have several nested, drag one to your bin, step in, drag the next one to your bin. Apply them to the next clips in the same order as they are on the first clip. Done!
Michael
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Click the Fast Menu in the upper left corner of your Source monitor. Choose Load Filler. This will load your slug (although Avid doesn’t technically have a “slug”. It treats any empty space as a slug). Mark however much you want to insert in your source monitor, patch your tracks in the timeline and splice-in the filler.
Michael
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What’s your email? Or email me at mhancock at oswaldcommunications dot com (naturally replace the at with @ and dot com with .com).
I may be able to answer some Media Composer questions, and may have the Media Composer manual in PDF format. I’ll look for it.
Michael
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Yes. You can create subsequences from your master sequence. Mark and In and Out on the section you want, activate the tracks you want, and Alt or Cmd Drag from the Record monitor to a bin.
To make it faster, map “subclip” to your keyboard and hit that with your timeline active. It will make a subclip (or in this case subsequence) that contains only what’s in between your In and Out marks and with only the active tracks.
Michael
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If DV50 looks good and keys well, stick with it. If you want to lighten the compression a bit, go to 2:1 or 1:1. 1:1 will take up a lot of space, and the difference between it and 2:1, visually, is practically imperceptible to the eye.
I’d go with 2:1.
Michael
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If you want to practice cutting with Media Composer or just getting used to the interface, capture your footage into FCP then import the quicktimes into Avid. You’ll have a bit of a wait for the import, depending on how long the clips are, but it will give you footage to work with.
Also, watch these if you get stuck with anything:
https://community.avid.com/forums/t/67003.aspx
https://community.avid.com/forums/p/71781/401332.aspx#401332Michael
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[Seth Hancock] “Can AMC NOT see the I/O HD even though it connects via Firewire?”
That’s right. Avid software only works with Avid hardware. Media Composer, without Avid hardware, can only capture via firewire direct from the deck or camera, not through a third party card or BOB like the IO HD. If you were using a file based workflow like P2 or XDCam you could import those, but you would still need Avid hardware to monitor it.
Michael
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Pan and Zoom maintains the original file’s dimensions and resolution. When you import the file, depending on your import settings, the file will be resized to fit the project resolution you’re working in, center cut depending on your project, or kept intact but shrunk to fit your project’s size (for example, importing a logo that’s smaller than your project will result in black all around the logo. A larger file will be shrunk to fit either the height or width but don’t be distorted).
Michael
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Are you compressing your output to fields? Are your field orders correct? Also, what resolution are you working at in Avid? If you export a standard def NTSC 720×486 quicktime and compress it to 720×480 and set your compression program up to crop it right (4 off top, 2 off bottom), it may be reversing the field order (3 off top, 3 off bottom).
Michael
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What kind of camera are you using? The total weight of the full loaded camera with accessories will determine what kind of tripod or monopod you need.
Michael
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I’ll be working late.