Neil Patience
Forum Replies Created
-
I know that there were reported dupe detection bug in MC5x.
I have had dupe markers appear on filler.I think you can get odd things thrown up if certain source metadata is missing, but that tends to lead to dupe detection not working.
Here are some older posts from the avid website, seems to have been noted elsewhere
https://community.avid.com/forums/t/89410.aspx
best wishes
Neil
http://www.patience.tv -
Just to add a different perspective to Tonys experience.
I edit sports in the UK very regularly. For terrestrial broadcasters like BBC and ITV, for sports like soccer, cricket, boxing, golf, the recent Commonwealth Games, the current Rugby World Cup.
I also regularly work for a company that provides soccer coverage to over 100 countries 5 days a week as far apart as Singapore and Canada.Broadly tapeless editing (until it comes to archive for which there is still a massive library held on tapes.)
Without exception they use Avid, with Interplay and Unity linked to EVS and IP Director. For us FCP is far from the standard in that particular environment.
I do use FCP 7 on a weekly soccer show that is essentially cutting highlights, short packages of 2 or 3 mins. Clips are sent from IP director to FCP edited and then sent to EVS. It generally performs very well and is a pretty stable combination passing files back and forth.
Certainly in that scenario FCPX could be used quite well, however the current lack of any kind of meaningful monitoring rules it out.
best wishes
Neil
http://www.patience.tv -
Totally agree with Micheal, H264 was never designed to be an editing format. You will simply make the editing or grading process slower and more difficult if you use the H264 files, for no gain.
The H264 video from the Canon is 4:2:0 so by transcoding it to 4:2:2 you have preserved all of the quality of the original. Which is why there is nothing to be gained by going to 4:4:4 – you cant gain what was never there in the first place.
4:4:4 would typically be used for sources like HDCam SR and EED.
The additional “4” in 4:4:4;4 represents the ability to support a lossless alpha channel, which again is not needed with 5D rushes.If you have fast raid drives go with 442HQ, if storage space or speed of system is an issue go with 422.
best wishes
Neil
http://www.patience.tv -
You cant copy the look of clip B to clip A as there is no filter or anything applied to clip B that can be copied.
One way to attack this might be:
Put a shot from the good camera and the bad camera next to eachother in the timeline – a few secs of something representitive of each will do.
Use the 3 way colour corrector to remove the blue cast from the A clips using the B clip as a visual reference.
If the white balance was consistantly wrong this should be easier to correct as the error will broadly be the same throughout.
Once you have a setting that you are happy with you can edit your sequence, leaving the ‘blue camera’ as is for now.
When you have a finished sequence simply right click on your corrected clip and select “copy”
Then select all of your other uncorrected A clips and right click “paste attributes” and select “filters”.
That will apply the same colour correction to all of the clips at once.You may find it easier to edit your sequence with 2 video layers. Put all the A clips on one layer and all of the B clips on another where possible.
That way its much easier to pick them out for the copy/paste process.
You could also use 2 different colour labels to make them easy to spot in the timeline if 2 layers is a problem.You can also save the filter to your bin and simply apply it to any clips that need it as well but the advantage of the cut/paste is you do them all in one hit.
Obviously this would not be such a good method if you had a lot of variations in error or white balance but for a consistant blue cast its worth a go.
You can then tweak any that need adjustment individually.
best wishes
Neil
http://www.patience.tv -
I came across something similar to this last week working on a PC based Avid Media Composer V5.03 (I think)
I needed to recreate some title media and the Avid reported the font, which in my case was Futura, was not available.
The edit assistant was pretty sure Futura was loaded and sure enough when I opened the Windows font folder it was there.
Other Apps could see it.So I did a search for folders called “font” and found that within the Avid Programme was an additional font folder. It contained a few fonts.
I cant remember the exact location but a search will find it.Anyway as a last resort I copied Futura into that folder and sure enough it showed up in Avid after a restart.
I have not come across this before but in this instance it worked.
best wishes
Neil
http://www.patience.tv -
I dont think you can search just sequences but you can certainly search under quite a few criteria.
Under the “edit” menu select “find”
Then enter the parameter you would like to search, you can leave it on “any column” or pick something more specific from the list – perhaps “name” in your instance.
Then select “find all” you will then get a new browser window filtered by your search criteria.
So as long as you know the name of the sequence you want to find it will be there (along with any other clips containing the same name.)
Certainly narrows down your search a lot.Hope that helps
best wishes
Neil
http://www.patience.tv -
You are trying to perform a totally unessesary step in your workflow.
You do not need to relink to the H264 files having already transcoded to ProRes 442 HQ.H264 Files are not really suitable for editing and grading hence the reason you transcode in the first instance.
Once you have transcoded to either ProRes 442 or 4444 then they are the master files.
best wishes
Neil
http://www.patience.tv -
You can buy your friends FCP and he needs to give you the licence. However he is then no longer the license holder so he should uninstall the software.
If he continued to use the software after giving up the license he is then technically running the software illegally.
You should be able to get upgrades as long as they are available.
Here is the paragraph from the Apple License:
”
3. Transfer. You may not rent, lease, lend or sublicense the Apple Software. You may, however, make a one-time permanent transfer of all of your license rights to the Apple Software to another party, provided that: (a) the transfer must include all of the Apple Software, including all its component parts, original media, printed materials and this License; (b) you do not retain any copies of the Apple Software, full or partial, including copies stored on a computer or other storage device; and (c) the party receiving the Apple Software reads and agrees to accept the terms and conditions of this License. All components of the Apple Software are provided as part of a bundle and may not be separated from the bundle and distributed as standalone applications.best wishes
Neil
http://www.patience.tv -
Did you transcode your footage to ProRes before you started editing ?
It sounds like you may have been editing with H264 files which will potentially give you issues but without more details of what you actually did its hard to give an accurate answer.
Can you explain your workflow please ?best wishes
Neil
http://www.patience.tv -
Hi Chris
have to be honest and say I don’t know, maybe someone else has seen this.
In my experience if your drive is formatted Mac Extended Journaled then you. should just get one file.
Dos Fat 32 will produce spanned files.You do get spanned files in a few other circumstances, across P2 cards when using more than one card for example, but irrelevant in your case.
Quite why yours should change mid project is odd. Can’t think of another reason.
The disk utility will show you how your drive is formatted but it would be very unlikely to be anything other then Mac format.
Have you got an external Mac formatted drive that already has files bigger than 2 gig on that you know works ?
If so what happens if you export to that drive ?
What type of file in what format etc are you exporting ?
best wishes
Neil
http://www.patience.tv