[R. Hewitt]

Have you recently updated your graphics card driver?

[R. Hewitt]

The following may be able to resolve this issue as there are two database files involved, both .mdb and .pmr

First clear the system of all media databases. The easiest way to do so is to do a desktop level search for any files named msm*.*

This will recover the msmMMOB.mdb and msmFMID.pmr files- which are databases responsible for tracking the intake and export of all media or media relatives. These files can easily become corrupt and it is recommended that you refresh them every few weeks.

Once you have deleted all MSM files, relaunch the Avid program. On Adrenaline and Xpress Pro the corrupted media will be quarantined when the databases are rebuilt…on Media Composer, Symphony and Xpress they will be marked with a “+” sign and appear at the top of your list inside the OMFI folder.

Once the databases have finished rebuilding- delete any “+” or quarantined media- delete and rebuild those databases once more- then recapture or reimport anything that was corrupted.

[R. Hewitt]

You could try: Avid Support Knowledgebase.

[R. Hewitt]

As Scott says, most likely to be a Firewire issue although some antivirus applications performing realtime scanning can cause this – in my case Norton was the culprit.

It’s possible that another application is grabbing the port for its own use. Make sure there are no video editing applications in your Windows startup folder.

[R. Hewitt]

In effect you need a Time Base Corrector to achieve this. There are many products on the market that can take an analogue source and give a stable DV output via firewire to feed into a none linear editing system or even a DV camera. There are equally as many that can give an analogue output too.

We regularly use an ADC 100, which has analogue (composite and s-video) in and out and DV in and out.

[R. Hewitt]

Biggest problem right now is the difference in gamma between a CRT and and LCD panel. Take a look at any LCD TV and you’ll see crushed blacks (well dark blue – LCDs don’t do black) and burnt out highlights. Then you have the colour to deal with.

Sony are producing ‘broadcast/professional’ grade LCD monitoring panels, which will eventually start to replace CRTs.

Sony Europe. Checkout the Products/Broadcast & Professional/Production Monitors/LCD.

[R. Hewitt]

Are you refering to the timeline or a digicut back to tape?

[R. Hewitt]

I don’t think anyone was disseminating mis-information t-, the posts appear in the order they’re published and not necessarily in direct response to your original post.

[R. Hewitt]

Hi Oscar,

You’ll find all the information for OP 36 on the FreeTV AustraliaFreeTV Australia website. The document defines the standards delivery for SDTV and HDTV tape material for commercials. The PDF document is listed part way down the home page or on th efollowing link:

OP 36 PDF Document.

Premier is more than capable of ensuring Broadcast Legality. The specific things you need to ensure are the correct level of the image and range of colour. There are defined limits for both that ensure luminace and chroma information is within the capability of the broadcast system. I believe there is a filter in P Pro that will ‘Legalise’ the levels for you but haven’t tried it myself.

You could also take a look at Serious Magic’s DVRack that gives you all the information on your video levels that you could ever want and much, much more. There’s a tryout version too.

Hope this helps.

Regards,

Richard.

[R. Hewitt]

The easiest option for switching between Source/Timeline I’ve found is Ctrl + Tab… as long as you don’t have too many windows open in PPro.