Michael Phillips
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COW Coin
Forum Replies Created
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Did you happen to do this in a 35mm 4 perf project? See my blog here as to why:
https://24p.com/wordpress/?p=16Basically you can load any of your .sync clips in the source monitor and slip sync on 1/4 frame boundaries. It will go beyond the frame boundaries. I’ve slipped sync on shots up to 20+ 1/4 frames which is like 6 full frames either direction provided the master clip had the handles to do so.
Michael
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Seems a bit strange that your exports are not sounding the same as in Media Composer unless track monitoring is not the same as with export. Try a mixdown first, export an compare and see if that is any closer.
Distance between each mike might pick up some fractional latency if it is picking up other actors voices, but the distance is usually 10’ish plus feet for that to become noticeable. Here is the timeline from a single mike (on camera) and the effect of distance on sync:
https://24p.com/wordpress/wp-content/uploads/2014/02/sync.pngIn your scenario, I am assuming lav on each going to a mixer of which each track is being recorded to camera or other type device? So the distance between each of mikes to each other might be causing a similar effect.
Something to try is PluralEyes from your Avid timeline. It may well adjust each track in sync to each other, but may not do that when less than 1 frame. But something to try with their 30 day free trial.
Here is my blog on using PluralEyes with Media Composer:
https://24p.com/wordpress/?p=218
Michael
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If you have a perpetual license, it will run for longer than a year, it just stays at the version after the year of support is up. If you miss the 1 year sign up, and you want to upgrade it will require you to buy a new licenses at whatever MSRP is at that time. And now you’ll have two licenses; your original one stuck at the version forever and the new one which will have support for 1 year unless you let that lapse, and so on and so forth. If you pay the $299 support fee, then you can grab whatever is released when released.
But that being said, yes ,De-authorize, install version on new Mac, and authorize there.
Michael
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Was the version you bought a perpetual license on a monthly subscription? That might have different methods of authorization. You want to make sure you deauthorize any Media Composer using that serial number first, then enter the authorization on the new system. If it is for the same version family, you should be fine. If not, you have 30 days of free trial to get it worked out.
Michael
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What part is not working? The entire column will highlight, then do a command-D or control-D and a dialog box pops up with a list of columns. Select, click OK. Not all columns are equal, an obvious one is copying comments to a timecode column for example.
Michael
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The job description did mention maintenance of the library which included the original series, so there may be some rights sharing, revenue share there as well.
Michael
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I was commenting in another forum regarding this that it would be interesting to see how the $5.4M is being spent and what it the lifespan of he business plan 1, 2, 3 years?
Michael
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The post has been removed. That was quick.
Michael
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It seems you have not associated the high resolution image with the effect and are only using the proxy version which is the result of the import. The user guide has a good step step on how its done. But one you place the pan & zoon on the event in the timeline, you need now point it to the external higher resolution file.
Michael
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While OS level copies are good most of the time, the same number of files may get copied, but there might corruption introduced. And some production like to have a sumcheck file for their records as validation. So it depends on production and how exact the reporting needs to be if/when requested.
Michael
