Michael Hancock
Forum Replies Created
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When I get to work I’ll check exactly how to change your comp to 16bit and post directions–I’m afraid if I try to do it from memory I’ll screw it up royally!
Regarding the softening of your footage–a couple of caveats. When you export your footage Avid, if you choose lower or upper field first, make sure you interpret your footage correctly in After Effects. Click the file in your project window, right click, interpret settings (Ctrl+F is the shortcut). If you exported lower field first, check lower field first. If you don’t interpret your footage correctly it won’t render out as crystal clear as it should. ALso, when you’re rendering from AE–if you’re working in an interlaced project, make sure you render with fields. This will also keep your footage looking clear when you reimport it into Avid.
Hope this helps.
Michael.
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If After Effects is on the same system as your Avid, export a Quicktime Reference from Avid. AE will read it like a quicktime, but it will actually be a pointer to your original media, so you won’t be compressing on export. Do your AE work (I’d set your comp to 16-bit just to be sure to preserve your color). When you render from AE choose the Quicktime Animation codec–it’s lossless and works great. Import into Avid, drop into your timeline, repeat as necessary!
If After Effects is not on the same machine as your Avid. export a self contained Quicktime Animation file from Avid, then repeat the above steps.
Michael.
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I’d install After Effects first, Avid, then Avid EMP. It might not matter, but that’s what I’d done on our systems and it’s worked.
Bouke–there’s something wrong with your system if you have to have Avid running in the background for Avid EMP to work. It doesn’t have to be running–in fact, I’ve found that if Avid is running they fight over the Mojo sometimes. You should be able to activate EMP through your AE settings–it should be independent of Avid.
Michael
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No need to go to the Avid forum–we’ll bring it to you!! 🙂
When you Match frame in Avid it clears the In and Outs previously marked on your source clip and sets an In point on the frame you matched. To avoid this, hit Alt+Matchframe (I don’t know the equivalent on a Mac–maybe Option+Matchframe or Command+Matchframe–not really familiar with Macs, sorry). It will retain the original In and Out marks in the source clip and park your playhead on the frame you Matchframed (is that a word?). That’s the “workaround” to get it to behave a little more like FCP. Note, though, that it will won’t show the In and Out you used on the timeline unless those In and Outs were the last thing you marked in your source clip.
I’d like to see Avid offer the option to Matchframe with the timeline In Out’s marked. That would be nice!
Michael.
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You can also create a black and white image in the Title Tool (simple shapes) or Marquee (complex shapes–use the bezier pen tool). Cut it above your video, remove the Title effect, add a matte key effect. Or cut it into the timeline, step into it and replace the fill with your video.
Animatte and Paint are much more elegant. Use Marquee or the title tool if you find yourself on an Xpress system (no Animatte or Paint).
Michael.
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What you’re thinking about in Avid are Phantom Marks, available on Media Composer and Symphony (maybe DS too, not sure). If you have an In and Out marked in your sequence, then mark an In or Out in your source monitor, a different colored In/Out (depending on whether you marked an In or Out in on your source clip) will show up to give you a reference of how much of that clip will be used.
I don’t believe FCP has Phantom marks, does it? I’m not really familiar with the program (I’m an Avid user). Otherwise, Avid acts exactly like FCP, or FCP acts exactly like Avid–either way, your sequence marks always override your source marks. I’m in the habit of hitting Clear In/Out Marks before I mark another clip. Keeps these mistakes to a minimum ,and it’s only one keystroke.
Michael.
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If it’s not recognizing your drives, go to the Media Creation settings tab and uncheck “Filter by resolution”. This should allow your Avid to see your drives.
As far as Avid not seeing your camera–what version of Avid are you running, what camera, how is it connected, what templates have you tried, etc… All the juicy details please!
Michael.
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Does this help? It was posted in the Avid forums recently.
https://www.avid.com/exchange/forums/post/212451.aspx
Michael.
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Look in the Command Palette (Ctrl+3 on a PC) and you’ll see them there. You have to map them to your keyboard. In Media Composer they’re already mapped, to P [ and ] (trim A, A/B, B) if I remember right. I assume you’re on Xpress Pro.
Michael.
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If you’re pulling a project from an earlier version of Avid then you’re currently running, you don’t want to try to open the older project. Just make a new project by the same name and copy the bins only into that. Sounds like you might be running into compatability issues. If you’re running the same versions, do what Grinner said–back ’em up, hit repair, say a prayer and hope for the best.
Michael.