[Richard Sanchez]

If you create the effect, and set the parameters to your liking, you can drag that clip into a bin. Now, go into segment mode, and shift click each clip, so they’re all selected. Now, double click the effect in the bin and that effect will be applied to all clips.

Richard Sanchez
Los Angeles, CA

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

[Richard Sanchez]

Open your title tool. Don’t type any text, set your BG color to black and create the title media. Instant black slug.

Richard Sanchez
Los Angeles, CA

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

[Richard Sanchez]

Yes. Follow the tutorial, except instead of consolidating the proxy by selecting “Most Compressed” in your AMA Consolidation settings, set it to “Highest Quality”

Richard Sanchez
Los Angeles, CA

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

[Richard Sanchez]

You need to download the U1 driver software, as well as the Sony XDCAM AMA plugin. They will not be automatically copied. AMA will generally automatically link to the files. From there, you can transcode them to your offline format. In my case, we’ve been transcoding them to 8:1m for offline.

This is a particularly useful tutorial on the basic XDCAM workflow with AMA. https://www.youtube.com/watch?v=ABQ4uaEDSgc

Richard Sanchez
Los Angeles, CA

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

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[Richard Sanchez]

I meant to say, this may have change with 6.0 but I don’t know.

Richard Sanchez
Los Angeles, CA

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

[Richard Sanchez]

You really should transcode. Working with those different formats, namely DSLR, and by Hero are you referring to the Go Pro Hero? Those formats are extremely resource intensive. Also, you’re going to need to transcode your media to MXF if you want to send your project to pro tools.

I’m currently working on a show shot on XDCAM and DSLR. We’re linking to XDCAM and immediately transcoding it to 8:1m for offline. Without DSLR, we use QTChange to marry the timecode to the quicktime and then we lay it back to XDCAM, and same as before, link via AMA and transcode. It’s a little more work upfront, but it will keep your offline process smoother since it’s all Avid native media.

Richard Sanchez
Los Angeles, CA

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

[Richard Sanchez]

Simply put. You can’t. You need to transcode your media to MXF to send it to pro tools. This have changed with 6.0, but with 5.5 and prior this was the case.

Richard Sanchez
Los Angeles, CA

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

[Richard Sanchez]

Some SATA cards do not actually manage raids, and in those cases, you can use Disk Utility to Mirror or Stripe your hard drives. In the case of more complex raid setups, like RAID 5 and 6 you’ll need a hardware controller.

That said, I read that the Atto R680 supports RAID 5, and I would recommend RAID 5 over RAID 0. RAID 5 only allows you to use the storage of 3 out of your 4 drives, but the upside is if one of those drives ever die, you just swap out the bad drive, it will rebuild itself and you’ll lose nothing. In the case of a RAID 0, if one drive dies you lose everything.

Richard Sanchez
Los Angeles, CA

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

[Richard Sanchez]

I’ve seen instances where part of your tape is NDF and another part is DF. However, if you insert the tape and it starts spooling over NDF it will give you the warning. If you manually shuttle the tape the timecode of the clip you’re looking for, and then batch capture, it will start spooling over all DF timecode and you should be good.

Richard Sanchez
Los Angeles, CA

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

[Richard Sanchez]

I just tested this out myself, and it seems pasting into the 24 and 30 columns works for clips in bins but not for sequences. For those, in your composer window, you should be able open a second timecode row in the composer window, and navigate to Sequence . Timecode > 24. You can do the same in the timecode window for tracking In and Outs, as well as in the timecode burn in effect.

I was having a similar issue on the show I’m working on, which was causing us problems multigrouping production audio to our video clips because it was tracking 29.97 frames, albeit skipping frames like Ben mentioned. Our solution was to flip our format tab to 1080p 23.976 and import our audio set to 23.976 and then flip our tab back to 23.976 NTSC. The timecode stayed at 23.976 and we were able to multigroup it.

Richard Sanchez
Los Angeles, CA

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