Michael Phillips
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COW Coin
Forum Replies Created
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Good to hear, and thanks for the follow up. At least the other method will rectify your existing recordings. As far as meter reading? I don’t know what to say there other than meter reading quality can differ between devices based on quality, sensitivity, etc. designed into them.
Michael
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Sorry to her it’s not working. At what stage were you relinking? After the edit or after removing tracks?
Michael
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See last question in the Third Party Products in the v7 to v8 FAQ from Avid:
https://avid.force.com/pkb/articles/en_US/faq/Media-Composer-8-FAQ#General%2012Q: I am planning to upgrade from Media Composer 6.x to Media Composer 7.0.x or 8.0.x – why am I not able to receive licenses for updated versions of 3rd party applications that were previously included?
A: In the past, Avid provided updates to some third party applications as a courtesy to customers with support contracts. Due to the expiration of contracts with certain third party partners, Avid is no longer able to distribute licenses for updated versions of the following applications:• Avid FX
• Sorenson Squeeze
• Boris Continuum Complete (Symphony customers)
• Avid DVDLicenses for these applications that were provided for the initial purchase will continue to work. Customers wishing to update to the latest version of these applications will need to contact the partner companies that make these products.
Note: Avid DVD was EOL (End of Life) at the end of 2013. There are no software updates available for Avid DVD.
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Do you not have your BCC installer from v7? That is what Job is referring to – it will keep working.
Michael
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Are the drives starting to fill up? As they do, files on the outer portion of rotating disks can be slightly slower and have reduced sustain rates compared to those towards the center. This may explain why it works better for a while, then starts not to.
Are the drives striped?
Michael
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Have you tried Resolve Lite?
Michael
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There’s a difference between being a “native” codec and hwo the file is wrapped. Avid native media is MXF wrapped OPAtom meaning each track in the file is a separate file. Most cameras (if not all) will record a single file with all tracks contained within. In the MXF world, that would be OPAtom1a. You cannot drag OPAtom1a files into the Avid MediaFiles folder structure. Those are accessed via the MXF AMA plug-in.
For Panasonic, you will want to use the Panasonic AMA plug-in to access (link to) the clips and do a consolidate. That means the codec just gets copied and rewrapped as MXF as Media Composer likes to see it.
See: https://avid.force.com/pkb/articles/en_US/Download/en394531
Michael
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Pas un problem du tout! J’avais une mère française et j’ai habité a Nice pendant ma jeunesse entre les ages de 10 et 17 ans…
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My comments refer to Media Composer and not Pro Tools. Pro Tools has the benefit of still being the number one DAW. Although there is growing competition, its seat count is higher than the competitors. I believe a marketplace for Pro Tools is the right thing to do for a variety of reasons – Pro Tools is a platform for third party development (MC is not). It has always fostered a very active third party plug-in development community. The plug-in architecture defined is better than other architectures out there, but is still open to using other formats (Avid uses AVX only for VFX).
The target market for Pro Tools are musicians. Post is secondary, as we can see that over 20 years of ownership, you can finally co-install MC and Pro Tools (if done in the proper order), but not have them running at the same time.
If Media Composer opened up to OFX as well as AVX for VFX plug-ins, it would allow users to have far more choices of plug-ins at different price points. As it stands now, developers needs to code and test AVX for only one market (the smallest number of seats) which show up as the same plug-in costing more for MC, than for other hosts as MC cannot take advnatage of economies of scale available with other hosts types. No other manufactures has adopted AVX as their architecture.
Michael
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The actual breakdown of revenue is hard to tell, and it also depends on your definition of “elite’. Broadcast enterprise with companies like ABC, CBS, BBC, Discovery, and all the equivalents around the world make up the majority of the revenue. These are huge investments across the board from servers, to storage, to asset management, graphics, services and support that Avid provides.
In the studio level film & television world, at least here in the US – the rental and support services is done by a third party. They buy Avid gear and they provide the systems, monitors, desks, rooms, etc. The Media Composer and storage cost is a component of the overall post costs in those productions. If you look at any feature film or television budget, the NLE (or Avid rental) is a line item with “x” number of weeks next to it. Same for storage. Rental houses would keep renting version 6 for many years, then version 7, etc. as once it is paid for, everything else is profit to them.
To some extent, I saw the new “purchsase plans” as a means of extracting more revenue from Media Composer seats as it changed the way Media Composer was sold and supported starting with v8. For those who owned perpetual licenses they had till Dec 31, 2015 to get on the new “support” plan or have to pay for a whole new license. This was a bit more than just a suggested nudge, but one with a revenue impact for Avid, as well as an expense decision for all these owners who did not upgrade every release or chose not to be on support plans. Now, you’re break even point was 4 years without upgrading. So many people just pay the $299 whether they feel they need to upgrade or not but may not install it till they’re ready (for example, PhraseFind and ScriptSync license owners).
Michael