Michael Hancock
Forum Replies Created
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How complicated is your edit, and what resolution are you working at?
You might want to try duplicating your sequence and doing a video mixdown of your duplicate. Then try to lay the video mixdown to tape. Also, if you are running with Mojo it could be causing problems. Try disconnecting it and then output to tape.
Mike.
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When you render a graphic from After Effects and import into Avid, make sure your Avid import settings are set to Use Existing Alpha. This is for movie files from AE.
If you receive a graphic from someone or make one yourself, choose Invert Existing Alpha. This will give you a proper graphic with alpha.
If you import a graphic and it’s reversed (like in your case), open your effect editor when parked on the clip and select Invert Alpha. I use this over Swap Sources because Swap Sources can give you really weird results sometimes. If it works, though, then I wouldn’t say one is better than the other. What I would say is that importing it correctly is best. If you don’t have to invert or swap the alpha then your Avid has one less thing to think about. Properly interpreting the alpha first may give you better realtime playback and will make viewing your graphic, properly, in the source monitor possible.
If you import something and you see it imported with the alpha reversed, do this:
Select the graphic/movie with alpha and hit Delete. Choose to delete just the Associated Media Files–keep the master clip. Then do a Batch Import (it’s under Clip settings I think, or Bin). If the graphic is still in the same place as when you originally imported it the Avid will go there to reimport it. Before you do reimport, though, check the box that says something like Override current settings. Then click the Options tab–if Use Existing Alpha is already checked, change it to Invert Alpha. If Invert Alpha is checked change it to Use Existing. This then hit OK. This will reimport your graphic with a correct alpha interpretation, and correct it anywhere it’s used in any and all sequences as well. Fast, easy, and simple.Hope this helps some.
Mike.
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If you’re wanting to apply the effect to just the fill of the matte key effect–say you want to adjust the color of a graphic only–then step into the effect like Jon suggested, or go into effect mode and Double Click the matte key effect. This will expand it on the timeline. You can now apply a color effect to it and still see your background (if you step in you won’t be able to see the background anymore). This is especially nice when you’re trying to match colors and whatnot. Once you’re done applying and tweaking the effect just double click the matte key effect again to collapse all the tracks. Done!
Mike.
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Welcome, welcome! Glad to have you here. 🙂
Mike.
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I just want to say that your work is BEAUTIFUL! That mic looks amazing! Well, done. Very well done. How you guys are able to make stuff like is a mystery to me. WOW.
Mike.
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I assume when you apply the Boris effect you’re Alt applying it to nest the matte key on your titles, right? Don’t. When you want to apply an effect to a title or anything with a matte key effect just apply it. It will replace the matte key effect, then when you hit the Apply to Title/Matte it will apply it to the actual title and it won’t effect the background. It took me quite a while to figure this out, but it should work like that. Let me know if it doesn’t and we’ll keep working on it.
Mike.
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Export a Quicktime Reference, provided you’re AE is on the same machine as your Avid. The Qtime Reference file will point to your Avid’s omf file so there is no recompression. Just make sure you properly interpret the footage in AE–field order, frame rate, etc…
I export a quicktime file from AE to take it back into Avid, using either an Avid codec (Meridien Uncompressed, Compressed, Avid 1:1, etc…) or Animation codec. They work great and I haven’t noticed a loss of quality yet.
Also, don’t trust what the footage looks like in AE if you’re looking at it only on your computer monitor. If AE is on the same machine as your Avid and you have a Mojo or Adrenaline box install Avid EMP to route your After Effects to your external broadcast monitor (I assume you’re using a seperate monitor for Color correction and all, right?). If you don’t have Mojo or Adrenaline use a digital video camera with firewire as a passthrough device.
Mike.
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You can try consolidating these clips to the project you want them associated with. Otherwise there’s no way to change project assocations, unfortunately. It would be nice if Avid would make this an option under Modify or something, but currently it’s not. Consolidation, however, has worked for me. Sometimes it doesn’t for some reason, but usually it does.
Mike.
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So if I understand right, you logged one tape. Now, because they all have the same timecode, you want to duplicate the logged clips and batch capture the duplicated clips under a different tape name, right?
If that’s right it sounds like it won’t work. What will work is this:
You have a captured clip. Open your capture tool. Drag your online clip into the capture tool. It will use the timecode from that clip to set the In and Out in your capture tool. Give it a name like Tape 2 or however you’re naming your clips and log it. Repeat and name it Tape 3 or whatever, also giving each of these the proper tape name. Repeat for all tapes you need to. Now batch digitize these newly logged clips. Done!By doing this you’re borrowing the timecode of the captured clip(s), but nothing else. Since all timecodes are the same you can just drag a clip in, give it a name and tape name, then hit F4 to log or capture it. It should actually be faster than what you were trying to do.
Mike.
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Yes. It’s a seperate installer on your Avid install disc, and it’s called Avid EMP or After Effects EMP. Can’t remember exactly which. Install it, open After Effects, then under Preferences you’ll see an EMP option. You can now use your Avid hardware to preview AE comps on your NTSC monitor!! Very, very helpful. We have it installed on our Adrenaline and Xpress systems.
Mike.