Michael Hancock
Forum Replies Created
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Are the tapes that far out of sync from the first frame, or does it drift out of sync and by the time it gets to the end it’s that far out of sync?
From my experience, and from what I’ve seen others post, firewire can be notorious for sync drift. Did you control your deck with firewire or control with RS422 and capture from firewire?
Otherwise, if it’s consistently out of sync for the entire chunk of media, you can simply slip or slide edit your audio to match sync. If it varies you’ll need to match it up seperately when it starts to go out.
Does your audio rate match your sequence rate?
Mike.
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It can’t be done in the bin–you either have to cut them all into the timeline like Alex suggested, then you can make subsequences out of each one to treat them as individual clips afterwards, or you can load each one into your source monitor seperately and change them there. It’s been requested at avid.com that we be given a feature to allow for batch audio adjusting. If only Avid would make it happen!!
Mike.
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5.6.2. If you’re on a version below 5.5 it’s a $50 upgrade.
Mike.
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No reason to shout. Xpress Pro doesn’t allow for keyframeable motion effects–unfortunately. In the older Xpress Meridien it was an option, but when they abandoned the hardware based Avid for the software Xpress lost this function (among a few others).
I don’t do timewarps in Xpress Pro specifically because I don’t have the control I would get on our Media Composer or Xpress Meridien, so I can’t tell you how to get the effect you want. However, I will get on the Xpress Pro tomorrow and to see if I can figure it out for you. In the meantime, hit F1 in the Avid to pull up the help file and read through it (do a search for Timewarp), or break out the manual. There’s information in both that should help you out.
Mike.
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Unfortunately you can’t set multiple pans at one time, at least not without laying them into the timeline and using Apply Global or Apply In to Out. This works, but if you’re going to be using them in various parts of your sequence it would be easier to adjust the pans before you start cutting.
Load a clip into your source monitor, then use your audio mixer to set the pan. Repeat with all 14 clips. This will set your pan on the master clip and not just in the timeline. It’s a pain to have to do this to each clip seperately, but it’s better than trying to remember to adjust them all in the timeline when you’re finished (especially if you have tracks you don’t want midpanned mixed in on the same audio track as those you do).
I’m pretty sure people have been asking on the Avid forums for the ability to set levels and pans on multiple clips in the bins. Would be a great feature to have!
Mike.
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To actually make tone in your Avid, open your Audio Tool, click the PH and a menu will pop up. At the bottom of the menu is Create Tone Media. Click it, select the Dbs, frequency, length, number of tracks, media drive and bin. Hit OK and it’ll put that tone into your bin. Done!
Mike.
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I don’t know that a Decklink card will work, but I think Avid gives you what you need on the install CD–it’s called Avid EMP. It will allow you to port After Effects to your NTSC or PAL monitors (whichever flavor you use), and I think it routes it through the Adrenaline box or Mojo, whichever a person has. Simply shut down Avid and AE, install Avid EMP, then fire AE up and set your output.
I’ve not used it, but I believe the downfall is that you can’t have Avid open while using AE or they’ll fight over resources and it won’t work.
I’m thinking of installing it on our systems here to give it a test run. Let me know if it works for you and it what you’re looking for, and if I run into problems with both programs running I’ll let you know.
Mike.
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Hold Alt when you apply the second effect–it will nest the first effect so the resize won’t go away.
Mike.
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Who’s Tony Scott, and what style does he do? I’m not familiar with him. Do you have a link to some of his work?
Mike.
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Yes, but first question–what did you shoot on? If you shot on DV upresing to 1:1 won’t help. It’ll just take up more space. If shot on something like Beta then 1:1 will be show an improvement.
Most importantly, did you capture with timecode? If you didn’t, you’re out of luck. To upres your sequence you have to have accurate timecode associated with all of your clips because you’re going to have to batch digitize them. To do that:
Select your sequence, Alt+Drag it to another bin to make a copy, then decompose your copy in that bin. You can select to Offline Clips, Digitized Clips, Imported Clips…chose what you need, hit decompose and it will create all new master clips based on the media that was used in the sequence, plus handles.
Select your new master clips, hit batch capture.
NOTE: Be sure you have everything set in your capture settings prior to capturing–check levels, set your resolution to 1:1, etc…
When you batch capture it it will tell you what tape it wants–you did name your tapes accurately so you’ll know which one it wants, right? If you did, pop the tape it asks for in, wait until it’s finished, pop in the next tape, etc… When it’s finished you’ll have your sequence online at 1:1. Watch it to make sure it’sright, render if necessary, output, enjoy the weekend!
Mike.
P.S. If you have imported graphics or titles that weren’t created at 1:1 you’ll need to batch import them and/or recreate titles at 1:1. Hope this helps and post back if you have more questions!