[Michael Hancock]

I don’t know exactly what the error means, but I’m guessing you have a corruption in your 3rd sequence. If you still have the original sequence you could try to isolate the clip that’s giving you the error, matchframe it, then cut it back in.

To do this, open your sequence. Set an In and Out on the first 1/4 of the sequence. Try to play it. Does it play? If it does, go to the 2nd 1/4 and try again. Does it play? When you hit a part that doesn’t play, cut it in half again. Say the first 1/4 doesn’t play. Set your In and Out around the first half of what you previously marked. Does the first half play? If so, the corruption is likely in the 2nd part. Mark an In and Out there. Do you get an error? Cut that in half. Keep doing that until you isolate the problem, the redit the clips that seem to be corrupt. Hopefully it’ll fix the problem.

Since you got it to mixdown I probably wouldn’t worry about it this time. If you get that error in the future, though, you can try to find the corruption and replace the clip.

Glad you ended up saving the project though. I imagine it would have been a nightmare to reedit!

Michael.

[Michael Hancock]

So your media is spread across 3 different drives and you want it all on one. Are you working with OMF media or MXF?

If MXF, do a search for MDV and use it. It’s a free media mover program. It will also work with OMF. To understand what that program will be doing, follow the steps below.

If OMF, do this:

Open the drive you want everything on. There should an OMFI MediaFiles folder at the root level of that drive. Open that folder.

Now, open the other drives. Open the OMFI MediaFiles folders on those drives. Copy all of the media within these folders to the OMFI MediaFiles folder on the drive you’re wanting your media. On the drives you just copied media from, rename the OMFI MediaFiles folder to xOMFIMedia Files or anything other than OMFI MediaFiles. This will throw all the media on those drives offline when you start your Avid (but since you copied the media to another drive it will still be online. You just won’t have duplicates that can screw the Avid up). Keep these renamed OMFI MediaFiles folders and all the media in them until you check your project to make sure everything worked ok. If it did, you can delete them.

Last of all, go back to the OMFI MediaFiles folder of the drive you just copied all the media to and delete the two database files. When you start Avid it will scan this folder and rebuild the databases and automatically relink your media. Done. Open your project, make sure everything is online, and try to be more careful about where you put everything in the future!

Good luck!

Michael.

You can also use Media Mover programs like MDV and MediaSift. Search these forums or the Avid forums for links to both programs. They’re free and they do exactly what I just suggested. I suggested you do it like above so you’ll see how media is organized in Avid. It’s pretty simple, once you learn it.

[Michael Hancock]

You can’t export a quicktime with timecode. Sorry.

Michael.

[Michael Hancock]

Do you still have the original Alpha Key file that’s on track 2? If you do, try deleting it from the Avid, then Batch Importing it. It might be corrupt. Also, is there a reason you’re using a letterbox from Photoshop on Track 3? You might want to remove that and replace it with a letterbox effect in Avid. You can make them any size you want, and you can apply the effect to filler.

Otherwise, have you tried setting an In to Out on just a short section and rendering that? Otherwise, I’m not sure what you tell you.

Michael.

[Michael Hancock]

Thanks for the clarification!

I agree that both systems have their pros and cons. I learned on Avid and have a distaste for Macs (don’t ask) which is one reason why I’ve steered clear of FCP. Despite that, I have been curious of how FCP handles media in the timeline. The fact that you can import files and immediately begin working is awesome. In Avid, if you’re importing a decent sized file and it wasn’t rendered in an Avid codec the wait can kill your productivity. On the other hand, if you delete the original file you haven’t lost the media in the Avid, which I like.
Six of one, half dozen of another.
Again, thanks for the clarification. One of these days I’m just going to bite the bullet and find some time to play on a FCP system. Like it or not, I’ll probably have to cut on it one day.

Michael.

[Michael Hancock]

No problem. Sorry I couldn’t help more!

What version of Adrenaline are you guys on? We’re running 2.6.3 here and it’s been nice. Lots of huge improvements over 1.x versions (what I started editing on).

Good luck on the upgrades. If you have more questions that Avid can’t answer, try here again! 🙂

Michael.

[Michael Hancock]

Thanks, Oliver. It’s making a little more sense how FCP works, but there’s one thing I still haven’t figured out. Hopefully you can explain.

In FCP:
I have Beta SP footage and I run it through a capture card and into my system via component. I want to keep the footage as clean as possible so I bring it in uncompressed. I assume, then, that I need a timeline setting for uncompressed to play it back without rendering, right?
Next, my client brings me some DV footage that I can capture directly into the system via firewire. This would keep the video native at DV25–capturing to any higher resolution would be a waste of disk space, right? Does FCP allow me to cut the DV25 footage into the same timeline as my Beta SP footage and play it all back without rendering anything? The way I understand it, the Beta and DV footage would need to be converted to the same codec to play it all without renders–say the same uncompressed codec as the Beta footage. If so, wouldn’t doing this cause the DV25 footage to take up more disk space then necessary since it would be converting it to uncompressed (which wouldn’t cause a boost in quality–DV25 is DV25).
This has been how I’ve interpreted the whole Mixed Resolutions. In Avid I would bring the DV25 in DV25, the Beta in at 1:1, then cut away all day and never have to render until I start adding too many effects.

That’s how I understand it, which is why I wrote what I wrote. If I’m way off base, please let me know. I don’t want to give people bad information!!

Michael

[Michael Hancock]

Thanks for the heads up!

To the original poster–we have them on our Adrenaline disks, but I can’t email it to you. Licensing restrictions. The only thing I can think to do from here is call Avid back, explain why you need them, and ask if you can license it from them.

Good luck!

Michael.

[Michael Hancock]

Is it not recording Video or just not showing it in the record monitor during capture? If it’s just not showing in the record monitor check your capture settings and make sure Confidence view is turned on.

Michael.

[Michael Hancock]

I only found one reference to it in the Avid forums, and it was in the Symphony forum. Perhaps it’s available with that system only? It should be on the Avid Symphony install disk, if it is. I’ll try to check our Xpress Pro, Xpress Meridien, and Media Composer install disks to see if we have it somehow–if we do I’ll email it to you.

Michael.