Michael Phillips
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COW Coin
Forum Replies Created
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When using AMA, the filename goes into the “Source File”column, and not “Tape”. If you add “Source File” you will see it. Just be aware that Media Composer does not support embedded REEL names with .mov files.
Michael
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I agree with Pat that overall a dongle is more flexible in its use. I have had a mix of both and ended up going all dongle. Software license works well in education and large enterprise scenarios with IT managed systems for upgrades and such. The license server is a good move in that direction. It is also handy for laptops and systems on the move being used in the field and such as that is where dongles are most susceptible to breaking – but having them on a USB extender as Pat suggests eliminates a lot of the bump type dongle breaking.
But for desktop systems and going back and forth between similar systems, a dongle is fast and more convenient. Also, if your drive goes down, getting a software license back up and running can be painful as well.
Michael
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Aside from permissions, did you “get info” on the drive and check Sharing & Permissions in that window?
Maybe move the project temporarily to the external drive and open it form there and see if you can save bins. Or try a “save as” and save it to the external drive and if that works.
Michael
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I don’t really agree with the notion that 24p makes it look more professional. Certainly 24p has a look, mostly for stories that want to have that “suspension of disbelief. In this case, it is speeches and such, so not warranted from a creative storytelling technique.
More importantly, shoot progressive, regardless of frame rate, you will get full horizontal resolution compared to interlace. So 30p (29.97p) is fine, and usually a nice comprimise. 24p (23.976) has some tangible benefits in file size and data rate as it will be a 20% smaller file overall given the same parameters and that may gave value. Or increase date rate by 20 for more quality, etc. It will also give you 20% more shooting time on that card. 🙂
I do agree with the exposure discussion. At the very least get a gray card and do a white balance and exposure on that before shooting. This will give you a great start and better looking image.
Lens is a factor – but may have diminishing returns based on the codec compression of the camera.
Michael
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You can switch to a software license, or in v8 to a floating license server if you have the infrastructure for it. Don’t know the exact details or process, but I remember seeing something on Avid.com.
Michael
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Are you in shared storage using shared project and bins? If not, does the drive have full read/write permissions for where the project/bin is being stored when working?
Michael
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The full matrix can be:
30DF
30NDF
29.97DF
29.97NDFThen you add progressive versus interlace which adds further confusion started by marketing wars between Sony and Panasonic…
So you need to quantify frame rate and frame structure so 1080p/59.94 and 1080i/59.94 look the same, but one is actually FRAMES per second, and the other is INTERLACE fields per second. So the latter as more motion resolution per second, but at half the vertical resolution. It’s a trade off.
Here is a book by one of the guru’s in the industry. He has several that get more complex from here.
Or you can start with the excellent, and free Digital Factbook by Quantel:
https://www.quantel.com/repository/files/library_DigitalFactBook_20th.pdf
Michael
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Are there duplicate clips around, or are these always the one single master?
Michael
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I have never seen that particular error message. I take it if you were to just import the file (not batch import) you do not get the same error?
Have you gotten any further on this since?
Michael
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Just a point of refinement… if you transcode you can choose to bake in. But you can still have color transforms be applied as metadata only during playback.
Michael