If the Trash won’t empty normally, there might be locked files. Hold the Option key, then right-click the Trash icon and select “Empty Trash”. This bypasses some restrictions.

Just to add one more option… you can transfer the project to Resolve yourself. Once you have sucessfully transferred the project, assign clip colors to the different cameras in the media pool, then organize the layers on the timeline based on the clip color. Use Timeline > Select Clips with Clip Color to easily select all the clips of one…

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For “near-line” fast storage, get yourself a M.2 NVMe SSD Enclosure and a NVMe M.2 SSD.

Recommended:
https://a.co/d/cT1LKnC
https://a.co/d/5YCW4Q1

For “offline-line” long term storage, get cheap internal HDD drives and an external HDD docking station. Use a Pelican Case HDD storage box to hold the drives. Use NeoFinder software to keep track of what…

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There is a MacOS application called “A Better Finder Rename” that I use for this type of situation.

publicspace.net/ABetterFinderRename/index.html

Even after you find this adapter you’re looking for you may discover that there is no modern driver to support the device you are connecting. The best way to do this is to also find an old computer that is running an OS from the era of the adapter. The other issue is dealing with how to capture the video (DV deck, dropouts and cleaning the…

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When Adobe added the “Pro” to Adobe Premiere at NAB in September of 2003 (yes, I’m that old), version 1.0 had no ability to import or export EDLs. I knew right then that Adobe never intended Premiere Pro to be used by actual professionals and it was nothing but a marketing ploy.

They did add mediocre EDL import and export capabilities in version…

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The hotkey is a toggle. You press the hotkey and you either get all off or all on. If you don’t get what you’re looking for the first time, press it again.

To toggle enable/disable the “auto track selector” for all video tracks the shortcut is:

Option-F9 for Mac and Alt-F9 for Windows and Linux

For the audio tracks use:

Command-option-F9 and Ctrl-Alt-F9 for Windows. Be careful using this with Linux as it will switch your virtual terminal instead and your screen will go black (Use Ctrl-Alt-F1 or…

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This video seemed pretty relevant:

You may need to remove the noise from the clip first before adding it back in. Otherwise, you are adding noise on top of noise. Let’s use your example of freezing a clip at the end. You would wan’t to remove the noise from the moving clip and the freeze at the end first. Then add the noise back in, being careful to match the noise signature of…

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The compression used in the EXRs may make a difference. PIZ and ZIPs require less bandwidth, but are heavy on processing to decompress in real time. Uncompressed requires lots of space on the drives and lots of bandwidth, but very light on processing. You should do tests using all three types of compression to see which works best for your…

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iZotope RX 10 Advanced is the ultimate tool for cleaning up audio and isolating speech, but it comes at a price of $800. DaVinci Resolve’s built-in Fairlight is also a comprehensive DAW with many of the same plug‑ins for cleaning up and repairing sound.

Same advice as everyone else. Get the most you can afford. I would prioritize memory over processors. If what you can afford isn’t good enough, then make proxies of your sources and work with those.

If you want to save $300, look into using Davinci Resolve for editing. Then when it comes time to do color, you are already set to go. Also, the…

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Also, the ability to copy transitions from one layer to another is a long standing request of mine with BMD. Feel free to add your vote by requesting this as well. This would make step 4 much easier.

A easy approach would be:

1) Use the Solid Color generator to make a slug .5 seconds long on a new layer above what you want to cut up.

2) Make this slug into a Compound Clip. Call it “SLUG”

3) Hold down F11 to overwrite this new compound clip from the media pool onto the new layer to create a long string of slugs the length of your tim…

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FiLMiCPro allows you to shoot 4K 60fps using ProRes on an iPhone 13+. However, it records 4:2:0 Rec709 (no Log), so you will loose color definition.

That said, You should look into shooting with what you have, and then running it through Topaz AI to upscale and clean it up. Very inexpensive AI driven software. Topaz labs dot com.

Set the VTR timecode to Internal and Regen. Make sure you are reading the LTC and not VITC. If that doesn’t work, check to make sure you are sending a compatible signal (i.e. NTSC to a DigiBeta).

Ann Bens reply is the correct answer. Please take the time to watch the YouTube video to learn about proper color management.

Adobe likes to keep Premiere Pro simple to use for those who do not wish to learn the difference between Gamma and Gamut. However, they are being forced into the world of color management kicking and screaming. I do not…

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Chris’ suggestions are solid. I would like to add one more suggestion to look into using DaVinci Resolve which has the toolset to handle these situations.

Short answer… no. Buy the Apple adapter. Daisy chain the old unit through the new unit if you want to save money.

Just to add to what everyone else suggested… keep the video heads clean. Get a high quality video head cleaner and some Texwipes. Good head cleaners are highly toxic, so perhaps some gloves as well. The old tapes shed very easily and will clog the heads quickly. Also, be sure to capture the video as native interlaced NTSC (720×486). Then…

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This reminds me of how they would take all the film from an entire day’s shoot and put it into the back of the lowest paid crew members car (a Ford Pinto for sure) and have them drive these incredibly precious assets to the lab for processing at 2 AM after a 14 hour day. What could go wrong?

BMD DaVinci Resolve sells hardware to make up for the $300 software (no subscriptions). The software is very powerful and worth looking into if you are struggling to pay for Avid.

The software developers, namely Rohit Gupta who was featured in the Apple announcement video, have early access to the MacBook hardware. Posting this question at https://forum.blackmagicdesign.com/ might elicit a response.

I can’t see the video (download is too slow), but I would assume that it has very fast changing imagery. An efficient codec relies on many adjacent frames being very similar to each other. It takes advantage of this and creates intra-frames that only contain the “differences” that have occurred since the last I frame. I frames are whole frame…

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Shift-Command-D will split a layer into two.

My suggestion would be to use Topaz Video Enhance AI to up-convert and deinterlace the clips. Take the 59.94p result into FCP and drop them into your 23.976 timeline. It will drop frames to stay in sync, but the temporal cadence should be acceptable given that you had 60 frames to choose from (24 from 60). If the speed of the clip doesn’t need…

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Are you sure all your frame rates match?

Not the answer you are looking for… but when I needed to capture DV I used an old Windows computer that had native firewire built-in. Another option for you is to go analog to PR422HQ. The stability of going analog may make up for any small loss of image quality. And the DV codec is not supported on Mac…

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You are not the only one. After Effects allows more granular control over the video format whereas Premiere assumes you know nothing about video formats and hides everything under the hood. For this reason, I find myself editing in After Effects often. I find it ironic that the “Pro” was added to Premiere and not After Effects. However, for…

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If the film (24) is inside a 29.97 clip, then the clip has 3:2 pulldown added. You will need to remove this to get back to the original 24p. From what I can tell, Adobe PrePro does not have this option in the Interpret Footage dialog. You will need to use After Effects to do this. That said, the clip you downloaded from YouTube probably…

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You should look into the Digital Anarchy 3D Assistants Pro plug-in. Wait… what? Oh, Red Giant purchased that and it’s not called Red Giant PlaneSpace and part of the Effects Suite. No? Now it’s part of the Universe? Not the Universe? Now it’s called Red Giant Complete? What? Are you kidding me? Red Giant is now Maxon? And they make no…

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I’m going to back up Michael on this one. The time you spent (and will spend) on this is worth more than two Studio licenses… and you get a FREE DaVinci Resolve Speed Editor with each one. It is an astonishingly good deal… and such a simple solution to all of your problems.

You are going to want to clean the heads in your DV deck often. Those old tapes are shedding, and DV is very intolerant to drop outs. Get some Texwipes and head cleaner and blow the dust out of that VTR. Clean after each tape and let it dry before inserting a new tape.

Also, DV uses an obsolete compression codec no longer supported, so convert…

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What Michael said. The issue you are fighting against is 32-bit floating point math. You need to force the image through integer math to cause clipping. This is also known as clamping.

You should be using the Black Magic Intensity Shuttle as your capture device and bypass the UltraStudio Mini completely. The only other device you might want to add is a TBC to stabilize the video before it reaches the Black Magic Intensity Shuttle (for example the TVone-1t TBC Time Base Corrector). A TBC will make a big difference in the quality…

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I would not suggest using a screen capture application as a backup for Zoom recording. Mainly because the computer is already burdened with handling a Zoom call AND recording the call to your hard drive. Adding another CPU intensive task on top of all that would most likely make the quality of the Zoom call drop, not to mention two apps writing…

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I hear that if you send BMD $295 they will send you a fresh new one.

Frame blending simply blends the frames based on how far they temporally. For example, if you have a 25% slow down, the second frame is made up of 75% first frame and 25% second frame. The next frame would be 50%/50% and then 25%/75%.

Timewarp both clips so that they both have a lot of frames. If each clip has 120 to 240 frames per second, then the temporal differences will be minor (after you speed them back up). Try using Resolve’s speed warp. This AI driven algorithm is the best for this job and should make buttery smooth in-between frames. Although any timewarp with m…

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I’ve seen where they use iPhones to record using Filmic Pro and a separate laptop for streaming/directing. You also need dual audio and the best lighting. Lighting will make all the difference no matter how you record it.

Try increasing the gamma/gain using a color correction temporarily to help the tracker track. Disable before rendering.

It will be difficult to capture across breaks without going analog. You are attempting to encapsulate the DV steam into a file, but the data steam is highly unstable and can’t be captured reliably. Capturing ProRes422 HQ will be more than sufficient and will far exceed the DV codec’s capabilities (meaning that there will be no visible loss of qua…

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Use the free version of Resolve to convert it to PR422HQ. DVCPro is the same codec as DV. Be sure to use the correct pixel aspect ratio. Your next question will be, “How do I deinterlace this?”

A suggestion would be to not try to convert the Log footage to anything. Log in, Log workspace, Log out. Use the “View > Use Display Color Management” to view the workspace on your computer display. This way you SEE what it looks like without having to go through any color space conversions.