Michael Hancock
Forum Replies Created
-
Exactly. The Adrenaline Box with DNxHD card will transcode HD footage via SDI on the fly. On a software only system you can bring in your HD footage via firewire and then transcode it to DNxHD for faster editing using less storage space. You just lose time waiting for it to transcode.
Contrary to popular belief, the Adrenaline box/Mojo/Mojo SDI provide absolutely no hardware acceleration regarding realtime streams of video playback or effects handling. They’re breakout boxes that do some convesions on input/output, depending on what you buy. Otherwise, your software only version will be identical to a fully spec’d MC Adrenaline.
Michael.
-
You want to Consolidate all the clips you want from A into your B project.
Open Project B. Navigate to the Project A bin that has all of the master clips you want associated with Project B. Copy them to a Bin in Project B. Select them all and do a Consolidate (I think it’s under Bin or Clip menu). This will make a duplicate of your A media and associate with B. Now you can move your A media off the drive and everything you wanted to keep (everything you consolidated) will be associated with B and will remain online.
Titles and effects will be to be recreated though, since they’re just PreComputes. You can bring the Titles over and choose to ReCreate Title Media, and the effects saved in a bin will carry over too. Just render them when you apply them to your new sequences.
Michael.
-
We just went with a 500GB for about $160. It’s amazing how cheap things are anymore. There’s really no excuse to not back up everything you might ever possibly need.
Michael.
-
When you import a quicktime Avid strips the timecode, as you’ve found out.
You’ll need to select the clips and unlink them first. You can check the help files on how. I think you hold Shift and Ctrl or Ctrl and Alt or some combo therein, then go to the Clip menu and you’ll see Relink (I think it’s under the clip menu–not in front of a system).
After you unlink the master clip from the media, right click on the clip and choose Modify. Now you can offset the timecode by start time or end time. It’ll give you a lot of warnings, click through them, and you’ll be done. Just select the clips after that and relink them.
I assume you need to do this because you’re going to uprez when you’re done, right? Because if you’re just going to import them at a higher rez you won’t have to. You can just batch import.
Good luck!
Michael.
-
Thanks so much!
However…I had one of the specs wrong. There is no PCI-X, it’s PCI only. With Dual 2GHz processors. So I’ll have to find a PCI card from AJA (I’ve read great things about them, just haven’t had a chance/reason to use their products).
As far as the graphics card goes–do I need to use Color? No. Do I want to use Color and learn as much as I can about it? You better believe it. I’ll check out the card too.
Again, thanks so much for your advice. It’s appreciated.
Michael.
-
Thanks so much!
However…I had one of the specs wrong. There is no PCI-X, it’s PCI only. With Dual 2GHz processors. So, now I’ve given you accurate information, would you still suggest the Kona LH? It looks like it’s available in PCI/PCI-X, so I’m guessing it will work?
Again, thanks so much for your advice. This is the number one thing on my upgrade list and I’m hoping they’ll end up going for it.
Michael.
-
Sorry for the double post. Ignore this one please!!
Michael.
-
Question:
I’m running 4.5. I don’t think my system will support 6.0, and the budget isn’t there to upgrade the machine. So…
If I buy FCS 2 can I roll back to 5.1? Does Apple provide previous versions available for download which the FCS 2 serial number will unlock?
If not, I guess my options consist of staying where I’m at, or buying a new machine and new software? And I didn’t upgrade to FCP 5.1 when it was available because I was editing on Avid at a different company. It wasn’t an option for me.
Thanks.
Michael.
-
1:1 should support an alpha. I’m not sure why it isn’t. Have you tried Use Existing then Invert Existing for your alpha interpretation?
For faster imports, about the only way you’ll get a fast import is to have them render to the Avid DNxHD 220 codec. As you know, however, it doesn’t support alpha channels.
So…
If your graphics department can/will, have them render the movie, then render the alpha (matte). Import both into your Avid, cut your fill in, alpha on a video track above it, collapse them together and drop a Matte Key effect on top (don’t Alt+Drop it, just drop it on top). If you want, open your effect editor and hold Alt+Drag (or Alt+Ctrl+Drag–not in front of the system right now) the effect icon to your bin. It will save your Matte Key effect with source, thereby giving you a clip of your animation with alpha that you load into your source monitor.
This will take more render time on their end, but you’ll have fast import for both the matte and fill, then you just have to take a few seconds to combine them in your Avid and save the effect with source. If they’ll work with you on this, that’s how I’d go.
Otherwise, you’re going to be stuck with longer import times. I can’t think of another way around it.
Good luck, and let us know what you do.
Michael.
-
Apply the Resize effect, then Alt+Drag your animatte effect. Cut out whatever it is you’re cutting out. While still in effect mode, double click (or Alt+Step In) to your effect and it will expand on the timeline. Select your Resize effect and adjust it.
By expanding your effects on the timeline (rather than just stepping into them) you’ll be able to see the entire composite, making it much easier to accurately place things. When you’re finished resizing, Alt+Step Out of the effect or double click the original.
If you do Animatte first then Alt+Drag your PIP or Resize effect it will also move the background. The Resize or PIP needs to be on the bottom of your effects stack.
Let me know if this works. If it doesn’t, I have another way that’s more convoluted but might work.
Michael.