Michael Phillips
1
COW Coin
Forum Replies Created
-
There is a combination of art and science when it comes to rolling titles. There are certain speeds that come off smoother than others, there is also consideration for progressive screen versus interlace, font choice, etc.
I have done it in the past – actual rate depends on amount of credits.
This website has the technical speed part down
Michael
-
It indicates you used Autodetect and suggests you select the AMA plug-in directly before linking.
Michael
-
Are you in a NTSC 23.976 project or 1080 23.976 project? And is your source 24.000 speed or are you referring to 24 timecode, as both 23.976 and 24.000 use 24 frame timecode.
Michael
-
The other side makes a sequence of the clips, then goes to do an AAF export of the sequence and select “copy” media to a folder via settings. This will eliminate the consolidate and creating .new clips. But consolidate is another method as well.
Michael
-
Are there any adapters on that particular subsequence? All events on each track are of the same duration (should be if sub-sequencing)? Audio tracks are of the same sample rate?
Michael
-
And around that time, the iPhone 5c and 5s were announced if you want to compare it to other Apple revenue streams.
A nice interactive timeline for iPhone: https://time.com/2934526/apple-iphone-timeline/Would be interesting to see a timeline of all Apple products aligned together.
Michael
-
Other may have different opinions, but a roundtrip is pretty clear – it’s going out and coming back. Could be After Effects, Pro Tools, Resolve, etc.
A conform means that an offline edit, or edit done with proxies needs to be “conformed” back to camera originals or higher rez version. There would be a conform in Resolve and either finishing there, or possibly being sent back to Media Composer after the conform in Resolve.
A relink might be considered part of the conform process, etc.
Michael
-
I taught a class at CCRI where I combined “how to” with storytelling. I was luck to have an established director friend of mine help out and we chose 4 scenes and all the coverage from a feature that he had directed.
The process was to ingest, sync, log the footage – this was part of the how-to part. Then the director came in and we played all the takes back on a class projector. The director spoke to what he liked, didn’t, etc. and the students had to take notes, and log against the footage.
Then they had four weeks to do a v1 edit during which time we covered more of the how-to as they worked their way to a v1 edit on a scene or scenes (schedule permitting) of their choice. The director then came back in and we screened together every one of their sequences. I also impressed upon them communication – tell us why that take versus another, what were going after in the scene, whose scene was it? etc. Each one got notes from the director as though they were in the edit room.
During the next four weeks we did more of the Avid training, but now learned more audio, titles, graphics so they could enhance the second version of the cut to another level. After that the director came back in for a last screening review with everyone. It was a very interactive discussion with all the students on all scenes with the director. Since the weekly class was a 4 hour session, we had the time to do this in class. I also had two guest editor speakers participate – one via Skype in class who was a feature editor, and the other a commercial editor out of NY working on national spots so that we could compare and contrast storytelling across two different market formats.
In hindsight, it was a challenge keeping the balance for students that had never touched Media Composer, but it was engaging process for them. Other than taking the Avid exam for Media Composer, their grade was based on communication with others and the director as that is a fundamental need as an editor in a collaborative process.
Michael
-
Make sure the volume button at the top left is checked to see if that helps (8.6 Source Browser). It is not an obvious button, but worth a try. It should see everyrthing now in that folder structure and only show you the clips to which you can manually select the proper plug-in.
Michael
-
My guess is you’ll be all right as you have plenty of RAM, your drives are fast enough, and Media Composer doesn’t make as much use of the GPU as other applications. Other than the need to work at 4444 DNxHR for editorial other than finishing directly from those files, which is more out of curiosity than anything else. Do you have any IO attached?
Michael
