[Nick Meyers]

small is beautifull,
and i like the look of the behringer B-Control:
https://www.behringer.com/BCF2000/index.cfm?lang=ENG

and this tiny JLCooper:
https://store.apple.com/133-622/WebObjects/australiastore

but no info on whether they are compatible or not.

[Nick Meyers]

michael,
what are you using to convert / conect the G5 optical out to the AES/EBU of teh O2R?

nick

[Nick Meyers]

yes of course.
sorry to miss the point.

individualy, you can contorl click on a clip in the TL ,and choose “make independant”
if you;ve got a lot to do, as guy says control click on seq in browser, “make seq clips independant”

nick

[Nick Meyers]

Tod:
in the timeline, put your playhead at the begining of the range of clips you want to add transitions to.
select the range.
drag the range from the timeline to the canvas, drop in the “Overwrite with transition” window.

Andrew:
select all your edit points,
Apple T to add the default transition

you can use the group tool (G for Group) to lasso a bunch of edits.
the trim window opens (wish it didnt) but just go back to the timeline, and it closes.

cheers,
nick

[Nick Meyers]

you can open the item properties from the timeline and get to a labels section in there somewhere,
but much easier is to use the keyboard shortcuts for adding labels.

Option Apple 2 ~ 6 will add labels
Option Apple 1 will remove a label.

i’ve cutomized that by sliding them all along to the left.
in my set-up:

Option Apple 1 ~ 5 will add labels
Option Apple ` will remove a label.

nick

[Nick Meyers]

thanks for the reply, Luke

nick

[Nick Meyers]

one possible way to avoid speed-change weirdness when Media Managing:

find all your speed modifued clips in your timeline (involves a boring manual search)
place copies of them at the end of your program.
remove attibutes: Speed, so you have just the unafected frames you need.

this has been known to “protect” the speed mod shots from weirdness.
and if it doesnt, then at least you have the frames you need to re-build the effects.

rather than putting the shots at the end of the timeline,
another approach would be to create a new track JUST for these shots.
then you could have the un-modified versions sitting direclty above the modified ones.

nick

[Nick Meyers]

first off, you need to have a CT database.
that’s a database of all your media.

then when you create your FIRST CUT LIST from Lockoff #1 CT asks you to save a PROGRAM FILE.

when you create the CHANGE LIST from Lockoff #2, CT references that program file.

there are alternate ways, of course:
you can give the sound dept EDLs of lockoff 1 and 2, and they can run them thru various programs:
one is a web-based application, where you only pay a small fee for each change list

that one is called Editrace
https://www.editrace.com
and they have an app you can purchase, too.

then there is Change Note Assistant
https://www.changenoteassistant.com/index.htm

here’s an article on a few others:
https://www.editorsguild.com/newsletter/JanFeb05/janfeb05_workflow.html

cheers,
nick

[Nick Meyers]

“I usually only make them for stuff I want to export”

then you dont need to use them at all!

exporting from the viewer uses in/put points
if you’re batch exporting from the browser, simply check the “use in/outs” box, or column

nick

[Nick Meyers]

sorry,
that’s 720p at 24fps,

thanks,
nick