Michael Phillips
1
COW Coin
Forum Replies Created
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Engineering QA was able to find workaround that has worked for many people runnng into this problem:
If two decks are going to be configured at the same time, create two Deck Configuration Settings.
– Duplicate the default Deck Configuration Setting.
– Rename both Deck Configurations (example port 1 and port 2).
– Open port 1 Deck Configuration Setting.
– Select Direct from the Channel Type pulldown menu.
– Select USA 28x port 1 from the Port pulldown menu.
– Auto configure the deck.
– Apply and save the Deck Configuration.
– Open Deck Configuration port 2.
– Perform the same deck configuration with this deck except choose USA 28x port 2 for this deck. There will now be two separate Deck Configurations, one for each deck that correspond to each port of the USA 28x.
– Click to the left of the Deck Configuration setting to activate a particular setting depending on the deck you are using at that time.The two Deck Configuration Settings should now work correctly when restarting or powering down/up the CPU. Let me know if this solves the problem.
Michael
anything 24fps
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Have you tried this in v.5.5.2? Make sure you have OSX 10.4.7 as well as a Super Pro Dongle for that version to work.
Michael
anything 24fps
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Download the latest release of 5.5.x from Avid.com and try again.
anything 24fps
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The reason for 1:1 is so that it does not need to go through a decompress and recompress for FX creation.
anything 24fps
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It is a recommended practice that sync points and punches fall on an “A” frame and on 30 frame non drop timecode ending on 00, 05, 10, 15, 20, and 25. But as long as the timecode to pulldown relationship is correctly defined in the ALE file then that also is fine – Avid allows capture of any pulldown on any timecode since in some cases it cannot be controlled.
But in your case it sounds like the capture is still not correct – make sure you are viewing the sources with the timeline in green/green mode to check for proper capture. Where are these transfers being done? There could be an issue with the dub – it is not done “field” accurately what was an “A” frame is actually a “C” frame as far as the capture and reverse telecine is concerned. Try changing the Pullin value to something other than “A” and recapture to see if you see a pattern.
Michael
anything 24fps
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You can always capture it as uncompressed 1:1 and have it be better than the original for the FX house.
anything 24fps
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Are you getting a FLEx file or an ALE file with the transfer? You will want to pass this through Avid Log Exchange to “clean it” meaning it will remove all overlaps done in telecine. Usually telecine is done a bit more carefully to not have these issues.
Avid does not care what the pulldown cadence is as long as it is accurate of the transfer. This should be part of the FLEx file. “A” frames are a recommended practice since it is easy to verify accuracy of a transfer and capture when all timecodes end in :x0 and :x5 for non drop timecode.
Are you capturing via a Mojo or directly over FireWire? Are you capturing on the fly from an imported log file?
Michael
anything 24fps
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Xpress Pro has the same feature set, KeyKode and film management than the Avid Film Composer and Media Composer. All feet and frame tracking is in context rather than in a separate application that uses an EDL for cutlist creation. Avid abandoned that concept in 1992 when it used MediaMatch.
Many features have used Xpress Pro for the entire editing process such as Hustle & Flow or as part of the overall editing process as with Mr. and Mrs. Smith, etc. Companies like eFilm use Xpress Pro to generate all lists for their scan and DI process. It is quite up to the task of feature film editing regardless of gauge.
Michael
anything 24fps
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Have you tried using a screen capture utility such as Camtasia? The save out as a movie file supported by Avid for import?
anything 24fps
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When you open the EDL in EDL Manager, make sure you select 24fps when prompted as well set the project type in EDL Manager to be 24p PAL. If the EDL has audio, you need to be in a PAL Method 1. If no audio, then Method 1 or Method 2.
Also make sure that the EDL is truly 24fps, there should be no timecodes with values ending in :24.
Michael
anything 24fps