Michael Hancock
Forum Replies Created
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I don’t think this is possible at all. The way I understand it, the Magic Bullet plugin takes the information from the pixels of your footage and alters it according to what the effect is set to. You’ll need a live color correction system to do this, and I don’t know that there is one. There’s no alpha to export because the effect is dependent on the actual footage you’re captured–and it can’t run live.
I guess you could do some tests with your cameras and adjust them to mimic the look, but if you go live tomorrow–I wouldn’t even dare. You would need to ensure these settings will work for every lighting situation you’ll shoot in, and there’s too much that can go wrong with a live event. That’s why it’s called color correction–you fix what you capture to tape.
Sorry, but I really don’t think what you’re wanting to do is possible.
Michael
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When I was involved in musicals (as an actor) I got a kick out of watching the sound guys hide mics.
Best I saw was placing the mic in the middle-front of an actresses head, near her forehead. They piled her hair on top and held the mic in place with a hair clip (part of her costume), then ran the mic cable across the top of her head, down her neck (taped into place with clear surgical tape, I think), and into her pettycoat–which held the receiver. No matter what kind of costume changes or dancing that girl did the mic was always front and center and sounded good.
Only once, during a dress rehearsal, did it come loose. She made a quick exit off stage, they stuck it to the hat she was wearing in that scene, and she was right back out. Never happened during a live performance, though.
Michael
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Trying to apply the Reverse Timewarp effect on the lower third won’t work because it’s locked (if it was imported as an animation with alpha). To get around it, do this:
Lay the lower third into your timeline, say on V2.
Step into the effect, select the 10 frames you want to reverse, and hit Control+C (or Apple+C on a Mac, I believe) to load those 10 frames into your source monitor. It will load them as two seperate tracks–Matte and Fill.
Cut them at the end and after the lower third with fill on V2 and Matte on V3. This will “unlock” the matte key effect by creating seperate fill and matte layers, as if they’re seperate video tracks.
Apply a Reverse Timewarp effect on both the Matte and Fill.
Select both V2 and V3 and collapse them. This will give you one track on V2 with a Submaster effect on top.
Drag (don’t Alt+Drag, just Drag) a matte key effect on top of the Submaster effect. It will replace the submaster with the matte key and use the nested Matte over the Fill while maintaining the Reverse Timewarp effects.
After this, I would create a Subsequence out of the Lower Third and Reverse Lower Third so you can just load it into your source monitor and cut it into place everytime you need it. Saves you time down the line.
Let me know if this works. You might need to make a video mixdown of the Reverse Timewarp effects before you collapse them, but I think this will work.
Michael.
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Hey Bruce, drop me an email and I’ll send you a quote on this.
Email me: mhancock (at) oswaldcommunications.com . Of course, replace (at) with @.
Look forward to hearing from you.
Michael.
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No shortcut that I’m aware of. I wish there was though.
Michael.
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This is just something that happens when you’re sharing your hardware between two programs.
Do you completely shut down the Avid program before you start AE? And do you completely shut down AE before you fire Avid back up? If so, and you’re still seeing the AE picture, try going into your Video Output settings and switch the output to something other than what it’s currently set on, then switch it back. Maybe Avid will regain control.
Otherwise, it’s usually a quick reboot to fix the issue.
Michael.
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I had pretty much this same question in September 2006 when I was trying to get my then boss to upgrade our Meridien to an XPress Pro 8200 system.
You can do it, but you’ll need the HP SCSI Expansion Kit. Here’s the info I was given on the Avid forums.
Michael.
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If you deleted the media, there’s nothing to point to.
If this is an imported file (a graphic or audio track, for example), you can select the master clip in your Bin and go to Bin–>Batch Import. Select Offline Only and a box will pop up showing where it expects the file to be. This filepath leads to where the file originally was on your drives when it was imported.
If it shows up, just hit Import and it will reimport it and relink to the masterclip.
If it has question marks, then the file is no longer where it originally was. For example, if the file was originally on your desktop and you moved it to a subfolder. Avid will look on the desktop, and since you moved the file Avid will show question marks. If that’s the case, you can choose to browse or look for the file, point to where it now resides, and choose Import. It will import and relink the media to your original masterclip.
If this is something that was digitized, you’ll need to select the offline master clip and choose Batch Capture. Hopefully you have the original tape, gave the tape a unique name so you’ll know which one, and you captured with timecode. If these criteria are met you can just pop the tape in and it will recapture the clip, relink the media to the offline masterclip and you’ll be good to go.
Michael.
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What’s the source of your footage? Is it HD? DV25? DV50? SD uncompressed? Your source will make a difference on what you render to.
Otherwise:
DNxHD – for HD sources.
1:1x – Uncompressed 10-bit
DV – DV footage
DV100 – DVCProHD footage
Meridien Compressed – SD footage. This is a legacy codec and can transfer back to older Avids, but works great with new ones too. This is at least a 2:1 compression, good only for SD footage. Your AE comp must be set to 720×486 (NTSC, not sure about PAL) for it to render. Anything else and it craps out.
Meridien Uncompressed – same at Meridien Compressed, but it’s 1:1 – uncompressed.
Does this help? Also, do you need to render with an alpha channel? If so, that changes things.
Michael.
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[Nate Stephens] ” you are running it on a Mac under Windows? Why not on a PC.”
Wow. You’re really suggesting that, in addition to the cost of the scanner, they buy a PC just to run it on when Windows on a Mac is the same thing as running it on a PC? Where’s the logic in that?
Since the switch to Intel chips, Macs are PCs. That’s all there is to it. The only difference is the OS. That’s why you can install OSX on a PC now, given the right hardware. It’s called a Hackintosh. Otherwise, the systems are using the same hardware.
I understand that people like their Macs, and the machines are nice look at, but suggesting someone buy a whole seperate system just to run a scanner when their Mac, booting into Windows, will do it fine is nuts. Windows is really so bad you dare not install is on a Mac?
Michael.