Richard Sanchez
8
Avid Coins
17
COW Coins
Forum Replies Created
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Import them as you normally would. Check your import settings that “Autodetect Sequentially-Numbered files” is checked. The Avid should bring in each as single master clips. One for the matte, one for the fill. Lay the Alpha channel over the top and drop the Matte Key effect on it, and you should be good to go.
Richard Sanchez
Los Angeles, CA“We are the facilitators of our own creative evolution.” – Bill Hicks
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Avid Compatibility Matrix is your friend!
And it will work with the 6.0.3.2 patch updater.
Richard Sanchez
Los Angeles, CA“We are the facilitators of our own creative evolution.” – Bill Hicks
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I usually will try to synch by the visible timecode. I’ll wait until the last whole second before the clap before the clap. Mainly because the moment of the clap can easily be misinterpreted but a number on the frame level is pretty absolute.
Richard Sanchez
Los Angeles, CA“We are the facilitators of our own creative evolution.” – Bill Hicks
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Read this.
https://viewfromthecuttingroomfloor.wordpress.com/2008/04/17/multigroups/
Richard Sanchez
Los Angeles, CA“We are the facilitators of our own creative evolution.” – Bill Hicks
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Did you watch the video tutorials on the site? I use that program all the time, and it really is the best recommendation I can make for you to get TOD timecode from the THM files those cameras generate.
It’s not bad once you get used to it. I have noticed that the reel name it adds works fine in Final Cut, but doesn’t seem to come over into Avid (via AMA or importing) but those can be relinked by source file anyway, and having TOD timecode for the purposes of grouping tends to the most important thing anyway (plus, you can add a tape name if you need to)
Richard Sanchez
Los Angeles, CA“We are the facilitators of our own creative evolution.” – Bill Hicks
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Can you autosequence the DF and NDF material separately, and then combine them after the fact? It’s a pain in the arse, but just a suggestion.
Richard Sanchez
Los Angeles, CA“We are the facilitators of our own creative evolution.” – Bill Hicks
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In order for fast import to work, you need to set your project to be matching in raster size and frame rate, then in your media creation settings, set your import media creation to match the codec (Whether it’s Pro Res 422, Pro Res 422 HQ, or what not)
Regarding the file name, Avid will keep track of the source file name, but it will create it’s own new media.
Since you want to fast import, I’m assuming you want to work at full res, but if you’re importing at low res for offline you shouldn’t mess with the file name because you’re going to need to either batch import it or relink via ama, and that source file name will be important for that.Richard Sanchez
Los Angeles, CA“We are the facilitators of our own creative evolution.” – Bill Hicks
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You’re using Avid FX to apply blurs? I usually use the paint effect for that. I believe it will work the same way.
Richard Sanchez
Los Angeles, CA“We are the facilitators of our own creative evolution.” – Bill Hicks
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When I’ve done this in the past, I usually have my editors cut the content that is intended to be composited. First make sure it matches the pace they want, especially if the characters watching are intended to react to it.
After that, I’d usually temp comp it in the Avid, and send off the assets to VFX. Temp comp remains until you start getting comps back from VFX (at which point it becomes very important to keep meticulous track of the versions of comps coming back from VFX)
Something like that I include on your dialogue or SOT tracks, since if that has to be translated for the international market, you would want them to know about it and translate it. On the SFX track, it would be more likely to get overlooked, causing problems down the line.
Richard Sanchez
Los Angeles, CA“We are the facilitators of our own creative evolution.” – Bill Hicks
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Right click the sequence and select “Commit Multicam Edits”
Richard Sanchez
Los Angeles, CA“We are the facilitators of our own creative evolution.” – Bill Hicks