Michael Hancock
Forum Replies Created
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What driver do you have installed for your graphics card? Here’s a version matrix: https://avid.custkb.com/avid/app/selfservice/search.jsp?DocId=267087
Also, make sure there are no windows overlapping your Source/Record monitors, and that no portion of them is offscreen (even having a couple pixels offscreen can affect this).
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Michael Hancock
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You can make your mouse scroll the opposite way!
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Michael Hancock
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What do you disagree with? Avid is not qualified on Lion. Roll back your OS or deal with the problems.
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Michael Hancock
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You’re looking for Add Edit. You can map it to your keyboard or button palettes.
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Michael Hancock
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Avid is not qualified for Lion. Why did you upgrade your OS?
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Michael Hancock
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Here’s why I’ll move off of FCP7 now rather than wait for FCPX.
I know Avid. I know a bit about Premiere (learning more now). I don’t know FCPX. Right now, FCPX doesn’t work for our facility – it’s missing key features we require.
You ask why we don’t just stay with FCP7. We’ve been considering a switch. We waited to see what FCPX would be. So, we certainly could stay on FCP7 but we shoot a lot of Red. FCP7 doesn’t read Red files natively. Premiere and Avid do, so for shortform work we gain time and disk space by leaving FCP, which requires a transcode. Same with P2 and XDCam. Plus, we can open FCP7 projects in Premiere. You can’t in FCPX and Apple has stated that they won’t fix that (maybe 3rd party will, probably not).
Avid and Premiere both offer more realtime than FCP7. Substantially more. Plus, we might need to add another license to a another system in the near future. Avid and Premiere are available for purchase, FCP7 is not.
But here’s the biggest reason I’ll switch NLEs (surprised nobody has mentioned this – maybe I just missed it). FCPX requires learning a new way to do exactly what we’re doing (and we’re already doing it well and fast). So we can take time to learn how to edit again (new timeline, new terminology, etc.), or we can move to another system that already operates how we expect, uses the language we know, and we can continue editing and spend the time we would have spent learning how to edit all over again on FCPX and learn another skillset instead. Maybe C4D, spend more time training in After Effects, download DaVinci Resolve Lite and learn it, etc… For me, I see it more as – I can learn to use a new hammer even though I’m good with the old one, or I can learn how to use a saw.
That’s why I’ll leave FCP7 and not use FCPX. If FCPX grows into an app that will work in our facility, maybe it will get tested. But by the time that happens we’ll already have established new workflows around Premiere or Avid so there really wouldn’t be a need to switch. It would have to offer a substantial savings in time (exponentially more efficiencies) to get me to come back. I don’t believe it will do that, at least not fast enough to stop us from switching.
In the meantime, we use FCP7 while we get up to speed on Premiere or Avid (probably Premiere – we already own it).
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Michael Hancock
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[Bill Davis] “Show me ONE instance of anyone putting any effort into cloning a Microsoft store”
There’s a Microsoft store?
[Bill Davis] “Yes, Microsoft still has an inarguably massive market shared driven by legacy practices of forcing anyone who wanted a PC to buy it with the MS-OS pre-installed.”
??? What does this mean? Are you saying I can’t buy a PC without Windows installed? Because Microsoft doesn’t make hardware, and you can buy PCs with another OS installed. That said, I can’t buy a Mac with another OS installed. You can’t even install the Mac OS on anything except a Mac (unless you break the license agreement and hack it).
I don’t understand your argument here.
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Michael Hancock
Editor -
[Craig Seeman] “Now it just works.”
Provided you linked your clips correctly. There is always room for human error, and I don’t see how this design will prove any different. If you don’t link the right elements together, they won’t move together will they?
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Michael Hancock
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[Craig Seeman] “Oh you mean Auditions and you can have a whole bunch of them to try and you don’t need any tracks for them at all.”
Is there a very obvious visible marker in your timeline when you use auditions so you know how many you have loaded and where they are? I honestly don’t know. I’ve read that compound clips are hard to recognize.
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Michael Hancock
Editor -
It’s not really that hard. Make a backup of the raw footage. Set it on a shelf.
Import the footage into Avid at the resolution you want (DNxHD 145, 220, etc…). If you’re going to offline/online, import it at a low resolution (DNxHD36, for example). Cut. Decompose, batch import at a higher resolution (DNxHD145, 220 for example).
When you do the initial import it will transcode the footage to Avid media on the way in.
Simply put:
Import at low resolution.
Cut.
Batch Import at high resolution.—————-
Michael Hancock
Editor