[Per Scaffidi]

This is a late response, but:

The answer to #1 is to drop your shot into shutter encoder, select “Cut without re-encoding”, and then in the bottom right change it to “split” and set it for every 10-seconds or whatever you need.

I’m encountering the same issue as #2 and wondering if anyone has a solution? I am rotoscoping a 4-minute long clip. I’ve split up the shot into 20-second clips which my system can handle at a decent pace, but at some of the breaks, the roto doesn’t quite match up.

[Per Scaffidi]

An FYI as well for windows users as I just upgraded to a new HP tower — it appears that the R680 isn’t compatible with windows 11. ATTO support thought that the driver ‘should’ work in windows 11, but it doesn’t (at least on my system) and since it’s now a legacy product there will be no more driver updates.

[Per Scaffidi]

Great — thanks for the SSD the info. We do have LTO for long term storage, and a Raid for our edit bay.

[Per Scaffidi]

Thanks for the info. Currently using two older 7200rpm Lacie drives which have been *good enough*. I do a master and backup as I prefer having two separate drives in case of damage since we’re traveling and working in remote locations.

Depending on the next project, I may go with your suggestion of the 2TB Sandisk Extreme Pro SSDs or 4TB Mercury elite Pro dual Raid hubs. Advertised throughput is 1000 Mb/s vs 550 Mb/s. However we do transcode from the field drives so I may lean towards the raid even though it’s half the speed. May have to do a real-world test — any thoughts?

[Per Scaffidi]

I would read through the Documentary Filmmakers Statement of Best Practices for Fair Use:

https://cmsimpact.org/code/documentary-filmmakers-statement-of-best-practices-in-fair-use/

[Per Scaffidi]

Google “Panasonic V-log LUT” and download the LUT files from the Panasonic page. I believe Avid will import the .cube file. I have it installed on my system.

[Per Scaffidi]

As mentioned above — double check that alpha channels are turned on in the import settings.

You also need to use straight matte when rendering — the alpha channel will still import but you’ll see issues with transparency. Without knowing more, that could be why you’re not seeing anything. In the most recent versions of MC, if you open up the effects controls for a clip with alpha, there’s now a checkbox for “foreground is premultiplied” that I assume takes care of that issue, but it is off by default.

I’m running MC 2020.12 and just did a quick test export from After Effects. These codecs imported properly with straight matte and alpha channel:

Quicktime DnxHR HQX

Quicktime DnxHD 175x

AVI

Prores4444

Quicktime animation

[Per Scaffidi]

Seconding this request now that we’re heading into Spring. No issues with my archive station at the moment but would like to know that I’ll be able to get support if something happens as our production ramps up.

[Per Scaffidi]

Without knowing all the details, I agree with everyone above. You’ll need to find software that works with your system to transcode to Quicktime DnxHD, which MC should be able to fast import. <font face=”inherit” style=”font-family: inherit; font-size: inherit;”>I would recommend these options depending on what your </font>situation<font face=”inherit” style=”font-family: inherit; font-size: inherit;”> is: </font>

<font face=”inherit”>1) Did your MC6 come bundled with Sorenson Squeeze?</font>

<font face=”inherit”>2) Adobe Media Encoder</font>

<font face=”inherit”>3) Shutter Encoder is a </font>great<font face=”inherit”> little app. Haven’t used it to transcode to DnxHD though.</font>

[Per Scaffidi]

Hi Ben — working on avid here on longer form projects, but my best practice advice is to keep a folder of past versions of your sequence (v1, v2, v3, v4) and also notate when a version has been submitted to a client (v1, v2, v3 rough cut review, v4, v5, v6 fine cut review). That way you have backups of your interim edits, and also a record of exactly what edit the client reviewed. When going through client timecode notes, I can have the review sequence in the source monitor for timecode reference while I work on the new version. Since I’m often rearranging entire story bits, adding shots, removing shots, I can’t simply leave gaps in the sequence to preserve the timecode, so being able to jump back and forth between versions is essential.