Michael Kammes
Forum Replies Created
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A few things at work here:
1. Avid can IMPORT (i.e. convert the files) to an Avid flavor. This has been Avid’s MO since the beginning
2. The Quicktime implementation of AMA (Avid Media Access) which allows Avid to use Quicktime files WITHOUT importing them. This feature is present in MC 5.x and above.
I presume you mean you are having problems IMPORTING.
Do you have the sanctioned version of Quicktime and Windows Media Player installed? You can find this in the README that came with the trial download.
Next, make sure you have the codecs that the files are encoded with. You can use a free program like MediaInfo or VLC to find what the codec is, then track down the appropriate codec. Then Google for it.
Unfortunately, it is very difficult to tell you what codec you need with just a “.MP4, .AVI” description. This is like telling us the manufacturer of a car – not the model, color, or year – which is needed!
Good Luck!
~Michael
.: michael kammes mpse
.: senior applications editor . post workflow consultant
.: audio specialist . act fcp . acsr
.: michaelkammes.com -
No, no difference. Standard upgrade. Just make sure you adhere to the system requirements and uninstall instructions.
Note the upgrade is for MC5 – not the 3rd party ancillary apps.
~Michael
.: michael kammes mpse
.: senior applications editor . post workflow consultant
.: audio specialist . act fcp . acsr
.: michaelkammes.com -
As long as the ethernet is for a SAN and not a basic NAS you’re OK. Basic NAS’s don’t give enough throughput for sustained captures nor playback, unless you’re running some sort of SAN solution on top of the (Editshare or ISIS for example)
FCP will always create that folder structure…you can only choose the parent folder those auto created folders reside in. If you uncheck the check boxes within the Capture settings window, and add other folders for the other created media, (audio captures, video renders, etc) this wil allow you to organize to your specifications a little bit more, but the folder names FCP creates cannot be changed within FCP.
I don’t see why you can’t change the Scratch volume and subfolders via the Capture Settings tab. True, there is no quick way to do this, you’d have to navigate manually to each folder(s) for the capture(s), but it does allow you to change drives and folders on the fly.
If you are attempting to do this and getting error messages, test it locally and see if that clears up the issue.
~Michael
.: michael kammes mpse
.: senior applications editor . post workflow consultant
.: audio specialist . act fcp . acsr
.: michaelkammes.com -
It’s an SMB volume? So it’s a network SMB volume? Do you have a SAN via ethernet?
That’s another can o worms. For now, try test capturing to your local drive (your OS drive). It’s NEVER a good idea to do this, but for testing, it will certainly shed some light on the subject. See if the -v persists.
~M
.: michael kammes mpse
.: senior applications editor . post workflow consultant
.: audio specialist . act fcp . acsr
.: michaelkammes.com -
In your Log and Capture window, 3rd tab over is ‘Capture Settings’ You can change your Capture Scratch there without having to go into the System Settings.
Are you capturing separate audio and video?
Are you seeing a -v1, -v2, etc? This is usually indicative of FCP splitting your files up because the drive it not formatted correctly, and the file system on the drive can’t handle the size of 1 file – thus, it gets broken up into smaller parts. If you do a GET INFO on the drive, what FORMAT is it listed as? MAC OS EXTENDED is preferred, but MAC OS EXTENDED (JOURNALED) is not the end of the world. FAT or MS-DOS is BAD for large files.
~Michael
.: michael kammes mpse
.: senior applications editor . post workflow consultant
.: audio specialist . act fcp . acsr
.: michaelkammes.com -
When I was doing sound design full time, I’ve found that more than half of my job was interfacing with the client and translating what they “thought” to the project. Often times our role is that of creator AND interpreter. After all, there is a reason you’re in the chair, and they make the other decisions, right? A Producer and/or Director SHOULD know better (in a perfect world). But this is not a perfect world, and often times they know a little bit about each department to get the job done.
I agree 100% with Mark, and perhaps this was a blessing to be released, and this was a case where the client really knew WAY to little.
~Michael
.: michael kammes mpse
.: senior applications editor . post workflow consultant
.: audio specialist . act fcp . acsr
.: michaelkammes.com -
Hire a one on one ‘trainer’ or a power user as opposed to a class. Most likely cheaper and more tailored to what you want for the vertical you work on.
It’s sad to say, but most move FROM Avid to FCP – hence the lack of books on it. Heck, Diana Weynands bible on it – FCP for Avid editors, is always a great seller, and she recently published an updated one. Sign of the times?
~Michael
.: michael kammes mpse
.: senior applications editor . post workflow consultant
.: audio specialist . act fcp . acsr
.: michaelkammes.com -
That error message is usually not related the the timeline codec, but the codec of the media in the timeline. You can’t compress (or recompress) with out first Decompressing.
Try rendering each clip one at a time to determine what AVI, Still, or MOD isn’t rendering. Trying converting that into another format using Compressor or another app – they may be able to read it. Then, bring that back into FCP, and you should be fine.
How are you getting MOD files in….?
~Michael
.: michael kammes mpse
.: senior applications editor . post workflow consultant
.: audio specialist . act fcp . acsr
.: michaelkammes.com -
Audio can certainly be RECORDED at various frame rates. Standard is usually 29.97, and a big misnomer is that this is out of sync with a video source at, let’s say, 23.98. If you think about it, both are the same length. In fact, one of the things I was mentioning is that your Pro Tools user may have had their timeline at something OTHER than the rate your audio was recorded at. If they DID, then an export from PT would certainly cause sync issues when you got it.
That being said, usually if they did something as thoughtless as that, they would notice sync issues themselves when you gave them the video edit with a timecode window burn. (i.e. timeline TC would not match the window burn).
So, all of that being said – and if sync was maintained through to your Avid, we’re left as Avid being the culprit, albeit a glitch, or a settings issue.
Out of curiosity, when you gave the sound person a video export to mix to, did you create a new sequence with a mixdown? Have you laid the sound mix in THAT timeline, or, did you lay it down in a pre-mixdown timeline? Trying to eliminate variables here.
Are you 100% certain these are in sync in your time? Have you tried playing from FFOA and letting it play unattended to see if there is drift near the end…i.e. the sync gets worse at the piece progresses?
Another troubleshooting tip is to create a new project in Avid (and sometimes a new user) and import the Bin and Seq, and try an export form there, user and project corruption can do some odd stuff – although, this would be one of the strangest.
If post audio was 100%, then my gut tells me it’s a Avid settings issue, maybe in MEDIA CREATION, maybe an effect in the timeline, etc.
This is an interesting one.
~Michael
.: michael kammes mpse
.: senior applications editor . post workflow consultant
.: audio specialist . act fcp . acsr
.: michaelkammes.com -
A few things:
Here are the requirements for Media Composer, as of this morning:
https://www.avid.com/US/products/Media-Composer-Software/system-requirementsAs you can see, your Intel Core 2 Duo meets the minimum spec.
What you DON’T have…
Ample storage for lengthy 3D material (remember, your storage will have to house the RAW footage- L&R eyes- plus the MUX, plus renders and misc stuff)
A way to view 3D on a 3D monitor. You’ll need a Mojo DX, Nitris DX, or a Matrox MXO2 Mini to view the 3D Video output. The iMac does not have provisions for the host card (pcie slot expandability) that each devices needs.
You’ll also need a PC in order to use Metafuze, which is the part of the Avid “sanctioned” 3D workflow (this free app takes L&R eye files, muxes them into 1 file, so Avid can use it). This, of course, goes on the assumption you use Avid’s workflow and not Cineform’s Neo3D workflow, which will cost you another $3000.
I’d read up on the Avid 3D workflow: https://www.avid.com/US/industries/workflow/Stereoscopic-3D as well as check out the stereoscopic forum here on the ‘COW.
Good Luck.
~Michael
.: michael kammes mpse
.: senior applications editor . post workflow consultant
.: audio specialist . act fcp . acsr
.: michaelkammes.com