Michael Hancock
Forum Replies Created
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I believe Alt+A and Alt+S will go to every cut of selected tracks.
Otherwise, it will stop only at common cut points between all selected tracks.
Michael
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[Shane Ross] “But, when you cut a clip into the timeline you cannot adjust the speed…on the Avid…in my experience. Unless that is something new.”
It’s sort of changed now. If you need to adjust the speed of a clip in an Avid timeline you use the Timewarp effects. It references the render file. Remove the effect and it leaves the original clip you cut in.
What to see something really weird? You should see Edius Broadcast NLE software. In and Out on the timeline + In and Out on your source clip = automatic speed effect when you cut your material into your timeline. Forget to clear an In or Out point and you’ll suddenly have a 600% speed effect! Takes some getting used to.
Are constant and/or variable speed effects realtime in FCP?
Michael.
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Consolidate the subclips and they will become Master Clips.
Michael.
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[Michael Phillips] “Another, albeit more costly solution would be to upgrade to the Media Composer software and get all the support including uncompressed while the upgrade promo is still going on?”
If you can spend $500, definitely upgrade.
If you have to rent a Media Composer suite, transcode, bring media back, work at a lower quality (8-bit versus 10-bit) just to likely relink to the original 10-bit material at the end…you’ll rack up $500 worth of time and expenses pretty quickly. Plus, you’d have a Media Composer from here out if you upgraded.
Michael.
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[Lav Bodnaruk] “For some reason I am thinking it might be quicktime that is clashing with the card? Is there a particular setting one has to do for the quicktime to work with Avid? I remember having to go to Advanced TAB of the QuickTime and switching SAFE MODE GDI only on.”
Are you running quicktime 7.4 or 7.4.x? Avid isn’t approved to run with those versions of quicktime–the highest it’s approved for is 7.3.
If you’re not running 7.3, download it, uninstall your current version, and install it. Try then. It’s about all I can think of at this point.
And you said you did set your drivers up according to this, right?
Michael.
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Gotcha. Would this work?
https://www.automaticduck.com/products/pefcp/
You can take FCP sequences into Avid with it. I’ve never used it so I can’t personally say how well it works, but I know that Automatic Duck is highly praised on the Cow (and other sites) and is often used to take Avid sequences to FCP (typically Avid offline, FCP online).
If you have the original MXF files from your P2 card you can drop them into your Avid MediaFiles folder, open the Media Tool, and drag the masterclips to a bin. Of course, if you have edits done with FCP you’ll have to redo them, but perhaps an EDL will translate that and relink to the MXF media in Avid?
Good luck. Please let us know if you find a good solution/workflow.
Michael
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There’s no plugin, because you don’t need one. What you need to do is export a quicktime in a codec that is available on the Avid system.
For example, ProRes, Apple’s version of Avid’s DNxHD codec, is only installed when FCP is installed. It’s not a codec open to anyone who wants to download it, so if you get a ProRes quicktime you’ll be out of luck importing it into your Avid.
Request an Animation or Uncompressed quicktime, or better yet have them install the Avid codecs on their machine and export to an Avid codec that matches the footage. For example, if they have DVCProHD footage have them export to the Avid DV100 codec or one of the DNxHD codecs. If it’s standard def, export to a Meridian Uncompressed. This will give you a nice looking file and the import will be faster.
Does this help?
Michael.
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Here’s how I’d do it…
Because Avid can’t export a file with an alpha channel, you’ll need to export the matte and fill seperately. You have the lower third in Avid–export it as a Fill targa sequence just as you want it to look on air. Then select the matte key of your lower third and set it to Show Alpha so you get a black and white matte. Export that as a targa sequence.
You’ll now need to either take both into After Effects or another compositing program to set the Fill targe sequence to use the Matte targe sequence as a luma matte, likely inverted, and rerender it as a Master targa sequence with alpha. Or, if you have the hardware to do it, use the Matte targa sequence as a luma matte to key out the lowerthird as it goes on air.
Again, much, much easier to do it in AE.
That’s how I’d do it!
Michael.
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What camera, what kind of HD?
You can capture HD via firewire. You may need to go into your Deck Configurations and add a new channel, Firewire, on OHCI port. Then see if Avid will recognize the camera. You’ll want to change your video and audio source to OHCI, too.
You might want to turn off the Adrenaline BOB too, or you could have a conflict on the firewire port.
Michael.
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It’s possible to map Load Filler to the keyboard.
Go to your Settings tab, open Keyboard.
Open the Control Panel (Ctrl+3 on a PC). Check Menu to Button in the control panel.
Click the button you want to map Load Filler to, then go to the menu command for Load Filler. I think it’s under the Clip menu. It will map that to your keyboard.
I have mine set to Shift+F, for Filler.
Michael.