[Richard Sanchez]

Anytime!

Richard Sanchez
Los Angeles, CA

“We are the facilitators of our own creative evolution.” – Bill Hicks

[Richard Sanchez]

Step into the audience clip with the spectra matte (or whatever key effect you’ve used). Now apply color correction or color effect to it. (I did a quick test with both Color Effect and Color Correction and it seems to work fine)

Richard Sanchez
Los Angeles, CA

“We are the facilitators of our own creative evolution.” – Bill Hicks

[Richard Sanchez]

There is more to it than simply being rewrapped as MXF media. The biggest issue with XDCAM EX, is that it is a Long GOP format. It’s heavily compressed, and requires a lot of system resources to playback. For the purpose of online, you will be far better off compressing to an I-frame format like the DNxHD formats.

Richard Sanchez
Los Angeles, CA

“We are the facilitators of our own creative evolution.” – Bill Hicks

[Richard Sanchez]

What’s interesting, is the compatibility says the Mojo DX can connect to a 17″ Mac Book Pro, but it uses a PCI-E card (which looks like a Mini-SAS) as opposed to the firewire connection the Mojo and Mojo SDI used.

I would have though the fact that it uses a PCI-E card would be the reason. Something seems fishy about that compatibility matrix.

UPDATE: Never mind, there appears to be an Express 34″ adapter available.

Richard Sanchez
Los Angeles, CA

“We are the facilitators of our own creative evolution.” – Bill Hicks

[Richard Sanchez]

I’ve seen this on MC 5.5 with XDCAM via AMA. We linked to clips via AMA and then transcoded them, but when we were relinking clips to be upraised, I was noticing that they were always exactly 12 frames off.

Sometimes the clips were 12 frames ahead, sometimes 12 frames behind and I could never track the pattern by which it happened because it didn’t happen all the time. The only consistency was 12 frames.

Because 12 frames wasn’t too drastic, we made sure our AE was very meticulous in shot checking after the episode was upressed. As per usual, we exported a video a mix down and adjusted clips as necessary.

Richard Sanchez
Los Angeles, CA

“We are the facilitators of our own creative evolution.” – Bill Hicks

[Richard Sanchez]

You still have the camera? If you do, you might try shooting a single clip and copying that to recreate the drive structure. It’s necessary that they be on the card, but you do have to copy the entire card structure.

Regarding the invalid file name, do you have a slash in the name of the files, or are the files in a folder with a slash in the name? (Such as a date 8/14 or such?) Slashes are a no no.

Richard Sanchez
Los Angeles, CA

“We are the facilitators of our own creative evolution.” – Bill Hicks

[Richard Sanchez]

In the bin with your sequence, using the hamburger menu in the lower left, you can select “Set Bin Display” and enable “Show Reference Clips”. That should show you all your used AMA clips. If you transcode those, you should be transcoding the whole clip.

Richard Sanchez
Los Angeles, CA

“We are the facilitators of our own creative evolution.” – Bill Hicks

[Richard Sanchez]

Having transitioned from Final Cut myself, it sound like you’re trying to force Avid to work like Final Cut and I’d urge you to not do that. If you hit t with the playhead on the clip, and only that clip selected, then it will mark in and out points around it. If you hit Z, that will lift it out (leaving filler)m or if you hit X, it will extract it (rippling all clips to the right). Activating tracks in Avid are like auto-selections in Final Cut, and sync locks (those slashes next to activated tracks) will dictate which tracks merge together when a splice or extraction happens.

Big thing is, Avid is modal. When you’re in Source / Record, it’s generally keyboard based as opposed to mouse based. If you hit the yellow or red arrows in the smart tool, you’re in segment mode (which essentially Final Cut is always in this type of setup), go into effects mode to modify effects (and in Final Cut, which has inherent attributes like scale and position, Avid does not. If you want to scale or reposition your clips, 3D warp is the tool you want to use). Finally there is Color Correction Mode, and that one is pretty self explanatory.

Richard Sanchez
Los Angeles, CA

“We are the facilitators of our own creative evolution.” – Bill Hicks

[Richard Sanchez]

From what I understand, if you check “Include reformatted clips already at target resolution” it will retranscode those clips. Unchecking it will leave those alone.

This is the basis by which my workflow works in transcoding AMA clips in a timeline, and also why you want to remove your offline reference video, because if your mix down is online if your sequence and you transcode your offline reference at 8:1me, it will transcode it as DNxHD when it’s not necessary.

Richard Sanchez
Los Angeles, CA

“We are the facilitators of our own creative evolution.” – Bill Hicks

[Richard Sanchez]

You could subsequence the part of the sequence that you want to play smoothly. Then, right click that sub sequence and select transcode, that way you can transcode that potion of the timeline with handles. I would give it very healthy sized handles if you plan to do much cutting around, but that might be a decent compromise.

Richard Sanchez
Los Angeles, CA

“We are the facilitators of our own creative evolution.” – Bill Hicks