Michael Hancock
Forum Replies Created
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You mean people like Apple? 🙂
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Michael Hancock
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Cut all these clips into a timeline. Add the Flip effect to get the image right side up. Open the effect editor, Alt/Option Drag the effect to your bin. It will save the effect “with source”. Now you can load that effect into your source monitor and the footage will travel with it, right side up.
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Michael Hancock
Editor -
I prefer to render a DNxHD Quicktime if it’s HD, or Avid Meridian if it’s SD. Then I import that Quicktime into Avid. It’s a fast export so takes very little time and allows me to have a standalone file I can take to other non-Avid systems if needed.
Plus, if I have to make a change in After Effects, I can render a new version and batch import in Avid, pointing to the revised file. That way I preserve the original (in case I have to go back to it for some reason), and the batch import updates everywhere the clip is used.
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Michael Hancock
Editor -
Check in your AMA settings. There’s probably something there that’s set to automatically make a new bin and populate it when AMA media is plugged in (Quicktime’s are available through AMA).
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Michael Hancock
Editor -
The above book isn’t specific to Avid 4 (I think it’s written around 5.5), but Avid operates the same. 5.5 might just have some stuff that 4.0 doesn’t (new format support, etc…).
Basically, anything Steve Cohen has written, or anything by Steve Hullfish.
https://www.classondemand.net/media/avid-training/mcforfcp.aspx
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Michael Hancock
Editor -
We hire a DIT with a MacPro and a Red Rocket to be on set. The day after the shoot we’re delivered 2 hard drives with duplicate footage on each – raw R3D files and ProRes transcodes. We copy the ProRes files to the server, archive the rest, start editing. We only go back to the 4K files for reframing or to fix major color issues (rare). Why edit 4K when we never finish in it – often finishing in SD, even!
Plus, having a mobile Red Rocket wouldn’t help in our shop. We’d need 3 Red Rocket cards to make cutting in 4K worthwhile since we often have 3 editors working with the same footage. That would be a $15,000 investment. Much cheaper to pay for transcodes and use our MacPros to reprocess a couple shots than try to work in 4K the whole time. Faster renders, more timeline responsiveness, less cost in the long run.
Really, editing 4K is a cool demo. The majority of the time it’s unnecessary.
Do you guys finish in 4K?
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Michael Hancock
Editor -
[Jeremy Garchow] “Do you work with red material, Michael?”
I do. I work with Red, Alexa, DSLR, XDCam, DVCProHD, Beta, DVCPro, GoPro, AVCHD – you name it, I’ve probably handled it at some point on either an Avid, Edius, FCP, or Premiere system. What does my experience with Red footage have to do with what I wrote? 4K playback isn’t cheap if you want to use an Air, thunderbolt or not.
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Michael Hancock
Editor -
[Jeremy Garchow] “Again, if everyone will simply look at this demo, and take it for what it is, you will see that red playback (and other simultaneous video actions) are not dependent on a Cuda based sizzle core.”
You’re right, in this case it’s not dependent on a “Cuda based sizzle core”. It’s dependent on a $5,000 Red Rocket in a $1,000 expansion chassis hooked to a $1,500 RAID. Which is a bit more expensive than a sizzle core beast with a decent nVidia card.
By all means, be excited. But be prepared to spend enormous amounts of money to get 4K playback on an Air.
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Michael Hancock
Editor -
[Bill Davis] “Paragraph 1 – you said “they paid full price for everything.” So in my book, they OWN everything. It’s theirs, not yours. Period. “
From a legal perspective, that’s wrong. Unless you have a contract that explicitly states Work for Hire or that the client retains ownership, the footage and project files belong to the OP.
[Mark Suszko] “Contractually speaking, if you want to “own the donut”, and your other work product, you need that in writing, in advance, next time. And always get paid before you hand over the key element.”
Nope. They own the finished spot you give them to air. Everything else is owned by you. They have no legal claim over it.
How you proceed, though, depends on how much you want to keep the client. Ask them what they need it for. If you give the donut to them, charge them above the cost to make a dub for them. You’re giving future work away, so make sure you’re compensated. But keep it professional and let them know you’re always ready and able to help them again in the future.
Good luck. Tough situation to be in.
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Michael Hancock
Editor -
Batch Import. Delete the media (not the master clip) or make offline the current clip in your bin, select it and choose to Batch Import. Either point to the new file or, if you overwrote the original one and the filename and filepath is the same, just hit OK. It will reimport and repopulate everywhere it’s used.
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Michael Hancock
Editor