Oliver Peters
2
Apple Final Cut Pro X Coins
6
Avid Coins
17
COW Coins
1
DaVinci Coin
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Premiere Pro Coin
Forum Replies Created
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I can’t answer the question about the 64X; however, our facility has five 2017 iMac Pros (10-core, 64GB RAM, Vega 64 16GB). We bought them right when that Mac was introduced. These machines are workhorses and perform well with the Adobe apps, Resolve, Media Composer, FCP, etc.
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Avid Media Composer is currently not compatible with M1 Macs.
avid.secure.force.com/pkb/articles/en_US/Download/Pro-Tools-2021-6-Release-Info
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You can go through support and convert your dongle to a software license key. You will need to have the actual dongle’s serial number handy. This is listed in the paperwork or on the DVD case sticker. Once converted, both *should* be active from then on. So don’t give away or sell your dongle, since it’s still licensed to you.
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Wait, actually I think you can. Select the first transition. They Shift+select the others. Make sure that the transitions are highlighted/selected, not the cut points. Then right-click and “Set Transition Duration” and enter the value. You do have to Shift+select one each one to get a group, but after that it’s a global change to the selected transitions. The one caveat is that if you applied a bunch of default 4-frame crossfades it will get a bit touchy to carefully select the transition without accidentally selecting anything else.
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I don’t think there’s a simple way to change them globally. When you hold down CMD (Mac) and drag up from the empty timeline area or at the end of the track and drag across only the track, you will select all of the cut points. You can apply a default audio transition.
Let’s say you set the default crossfade for 4 frames (Preferences > Timeline). Now you want to change the transition duration after you’ve already applied the 4 frame crossfades, let’s say to 48 frames. First, change the preference setting to 48. CMD+swipe across the track again in order to re-select those cuts. Now reapply the default transition, which is now 48 frames.
Yes, it’s a workaround, but it should get you what you need to do. Hopefully. I’m missing something, too.
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SH – are you trying to select audio transitions that you’ve already applied? If so what are you trying to do – change the duration or something else?
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When there is inconsistency between two dissolves, is the length of the two dissolves the same? Is it a cross-dissolve, film dissolve, or fade from black effect?
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Build a stringout (timeline) of sync’ed selects and export a .xml for that sequence. Then give the editor the raw camera files and sound, plus the .xml file.
The bigger question I have – Why not just let the editor sync the project himself? That way he can organize it in a many that he is most comfortable with.
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Michael – There are plenty of users who never use the integration. Frame is far more versatile when you don’t use the various NLE integrations, IMHO. So you can (and always have been able to) use Frame by itself, even if you never touched an NLE.
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Why?