Michael Hancock
Forum Replies Created
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In your case David, I don’t know that I’d be so surprised at their decision, considering who they awarded the job to.
If Junior is the son of a high-level exec, he only needed to underbid you by $1, if at all, and he would have likely gotten the job. If you’re competing against a decision maker’s family (particularly their kid), good luck. After all, they’re not going to tell their genius child no! Especially when they’re trying to get their awesome new production business started!
Does that make it right? No. Will this kid do as good a job as you would have? No. Their best chance now is that this kid really is a natural talent with skills beyond his years. Otherwise, definitely stay in contact for the clean up.
Best of luck on it.
Michael.
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It’s not supported, so while it may run (and likely will), if you have issues with it Avid won’t help you. Go with Vista Business.
Michael.
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On a Mac, I’m not aware of one. If you were on a PC you’d be set.
However, you can do this:
Go to your media drive and find one of these massive .mxf files you want to know more about. Select it as if you’re going to rename it so you can hit Cmd+C to copy the filename (or whatever the Mac shortcut for Copy is–I’m rustly on Mac shortcuts).
Open Avid, open any project, go to your Media Tool, select the drive that file is on, then choose to show Media Files, and select All Projects.
Your media tool will load up with every media file on that drive for all your projects. Now go to the fast menu in the lower left corner of your Media Tool and select Custom Sift. In the Custom Sift box paste the name of the media file you copied. Hit Apply or Ok. It should show only that file now, and if you customize your headings (be sure you’re in Text view) you can see the project it’s associated with, the tape name, etc… It may turn out to be only a render file, or it might be footage you thought you deleted a long time ago.
To learn more about the file, select it, then go to your fast menu again and choose Show Unsifted. This will pull everything back up that you saw before. Go to the fast menu again and choose Set Media Display. Choose to also show the Master Clips (you can do this right from the start, but it clutters things up more). It will load up all the media and Master clips of all your projects from that drive.
Your Mystery MXF file should still be selected (if it’s not, custom sift again, select it, then show Unsifted). With the mystery media selected, go back to the fast menu and choose Select Media Relatives. This will select any other files associated with it–like the Master Clip. Go back to the Fast Menu one more time and choose Sift Selected. You’ll see the media file and the master clip and any other files associated with it. You can drag the Master Clip to your source monitor to view it, and if you don’t need it anymore–delete it. Again, set your heading however you want to get as much info about these files as you need.
Repeat with all the mystery media on your drive.
Hope this wasn’t too confusing. Let me know if I need to clarify anything, or if it doesn’t work for you.
Michael.
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Justin–
Are you on a PC or a Mac?
Michael.
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I’ve seen this happen with massive renders before. The best solution I’ve found is to do just what you’re doing–render little bits at a time.
Why does this happen? I have no idea, but it’s a nuisance. Have you tried exporting a quicktime reference of your sequence? It will render everything beforehand, then export (which takes seconds). If it can complete this successfully you can just delete the quicktime reference and your timeline should be rendered.
Michae.
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Film 1 and Film 2 have both been captured into the same project? And you want Film 1 on Drive 1 and Film 2 on Drive 2? If so, what you’re wanting to do should work fine.
If you want both Film 1 and Film 2 to be on Drive 1 and Drive 2, just copy all the media folders at the OS level to Drive 1, then again to Drive 2.
Otherwise, consolidate should work fine, and you shouldn’t run into any problems.
Michael.
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This is a topic of debate. Capturing DV footage at any resolution higher than 1:1 will not make the footage better. Some people argue that any effects or color correcting to do to it will benefit for a 1:1 resolution because it will process the footage in 4:2:2 color rather than the DV’s native 4:1:1, but I haven’t seen empirical evidence that proves or disproves this.
If I were you, I would capture it all as DV25, then set my Media Creation settings to create Titles and Graphics at 1:1, and to render everything at 1:1, or DV50 at least (DV50 is 4:2:2 and is about a 3:1 compression, I believe). That way your titles and graphics won’t take a hit, but you won’t use up all your storage space with 1:1 DV footage.
Oh yeah, I’d capture the DVDs at 1:1. They’re already so heavily compressed you may as well try to retain every bit of quality you can rather than recompress them to DV25.
Michael.
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Open the new project, then go to the fast menu in your Project Window and select Open Bin.
Navigate to the project where you originally captured the clip and open the bin where that clip resides. Select it and Alt+Drag it to a bin in your new project. It is now available in your new project. However, it will still be associated with the original project.
If you want to associate this clip with your new project, do the above then select the clip in your new project’s bin and consolidate it. It will create a copy of the media and a new master clip, and that new master clip (and media) should be associated with your new project.
Michael.
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Easiest way:
Alt+C on a PC, maybe Option+C on a Mac? This copies the selected tracks between your In and Out marks and loads it into your Source monitor. Go to where you want to “paste” it, and hit Overwrite (you’ll need to clear your old In/Out marks in your sequence first, or remark your In where you want to “paste”).
To make it even easier, open your Keyboard settings and Command Palette and add the Alt modifier from your Command Palette to the C key (which is, by default, Copy to Clipboard) then everytime you hit C it will copy to your Source monitor.
Michael.
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What version of software is it, and what version of quicktime are you running with that software?
Michael