Richard Sanchez
8
Avid Coins
17
COW Coins
Forum Replies Created
-
Have ran Disk Warrior on your system drive? That’d be the next step I’d take. What OS are you running?
Richard Sanchez
North Hollywood, CA“We are the facilitators of our own creative evolution.” – Bill Hicks
-
You metioned a Mac Core Duo. The only Macs I know with the Core Duos, are Mac Minis. Are you running on a Mac Mini? System specs and software version numbers would help greatly.
Richard Sanchez
North Hollywood, CA“We are the facilitators of our own creative evolution.” – Bill Hicks
-
I think error 34 is hard drive full. How much space do you have on the drive where you’re copying the footage?
Richard Sanchez
North Hollywood, CA“We are the facilitators of our own creative evolution.” – Bill Hicks
-
“Disk warrior is very abrasive.”
I’m not sure what you’re referring to. Speaking from first hand experience, I’ve had Disk Warrior save drives time and time again, and as long as you have the most current version. If you trash FCP preference, and repair permissions and still have issues, I would strongly recommend you consider running disk warrior on your system drive.
Richard Sanchez
North Hollywood, CA“We are the facilitators of our own creative evolution.” – Bill Hicks
-
I would guess because within the 16:9 sequence, the file is having no basic motion filters applied (in addition to the broadcast safe) but the 4:3 sequence is using basic motion to make the clip fit into the 4:3 raster.
Also, just for the sake of putting it out there, Final Cut’s broadcast safe filter tends to be the subject of a bit of debate, and I’ve had numerous tapes fail QC due by relying on the broadcast safe filter (even set to Extremely Conservative). Of course, nothing beats a precise color correction job to bring your levels to legal levels, but if you need a fail safe at the end, I would recommend the Harris 860 legalizer or a similar hardware legalizer.
Richard Sanchez
North Hollywood, CA“We are the facilitators of our own creative evolution.” – Bill Hicks
-
Personally, I doubt you’ll notice any difference in render times. You’ll be less apt to get the warning “Cannot render effect at the requested bit depth” but that’s about it.
Richard Sanchez
North Hollywood, CA“We are the facilitators of our own creative evolution.” – Bill Hicks
-
Part of what makes Avid media management so solid is, Avid media can only reside in one folder of the volume. The “Avid Media Files” folder, or if you’re using OMF media, the “OMFI Media Files” folder. With Final Cut, you can set your scratch disk anywhere, which can be nice to separate media files from different projects, but if you’re not very diligent about double checking your scratch disks, you can easily start mixing media and it can turn into a mess fast.
As far as faster workflow and keyboard shortcuts, Avid’s keyboard shortcut selling point over Final Cut used to be that you can remap your keyboard so that each user can work their fastest. Final Cut has allowed keyboard remapping for a few versions, so that’s no longer the case. Personally, I find I remap my keyboard layout for Avid since I got used to that, but I work with Final Cut’s defaults, but it’s just a matter of familiarity. I’m much faster with Final Cut’s keyboard shortcuts than with Avid’s.
Richard Sanchez
North Hollywood, CA“We are the facilitators of our own creative evolution.” – Bill Hicks
-
I was pretty disappointed with it too. If you’re doing quick edits that won’t require a full mix sessions in pro tools, it’s not necessary and you can mix sources to your heart’s content. That makes it an attractive feature for music videos and such. But again, AMA tended to be much more sluggish than Avid’s MXF format, and sometimes AMA volumes would randomly go offline, so I always opted to transcode overnight.
Richard Sanchez
North Hollywood, CA“We are the facilitators of our own creative evolution.” – Bill Hicks
-
Not really. The ATI will be most handy when rendering using Color, but rendering in Final Cut is going to have more to do with your processors and ram to compute the renders, and fast hard drives to write the data quickly.
The new Westermere Mac Pros come with the ATI 5770 and can be upgraded to the 5870 however you mentioned your system is a 2×2.66 dual core system. Is it a 2006 Mac Pro (1,1 or 2,1)? If that’s the case, the card wouldn’t be able to work at it’s maximum bandwidth anyway, since the 4870 and above are PCI-E 2.0 cards, and the first generation Mac Pros are PCI-E 1.0. The 2008 Mac Pros (Model 3,1) are the first systems to incorporate PCI-E 2.0 slots.
Richard Sanchez
North Hollywood, CA“We are the facilitators of our own creative evolution.” – Bill Hicks
-
I fully concur with Dan about Avid and Final Cut being two tools that you should know. I have worked with the new Media Composer 5, and have found the whole AMA and “Native Editing” campaign of Avid to be very deceptive. Yes, you can edit Pro Res, P2, and XDCAM EX without transcoding. However, you cannot kick out an AAF for audio mixing based on AMA footage. You will have to convert the footage to Avid’s native MXF format at some point to do that, which introduces the argument of whether you can edit natively and transcode at the end, or if you should transcode first, effectively using AMA more like Final Cut’s Log and Transfer tool. That’s an argument I won’t start in this post, but there’s been a lot of posting about it in the Avid forums.
Avid’s media management is rock solid, and I find in general, offline projects that begin in Media Composer, and are sent to Symphony or DS for finishing tend to be smooth. I can trust that when speed changes are made in offline, they’ll be carried over properly in the online. Whereas, I still find I have issues when those effects go from Final Cut to Color. Color 1.5 was better than Color 1, but I’ve still had issues with speed changes frequently enough, that I still feel the need to bake all speed changes before going to color.
The funny thing is, contrary to Dan’s experience, I’ve had more issues with Avid playing with tape decks (HD decks at least, Avid is great with SD decks) than I’ve had with Final Cut. Though, I did need to create custom deck control presets in Final Cut when laying off to D5, but HDCAM SR has always been smoother for me.
It was mentioned that with Avid Media Composer 5, and the new Smart Tool that Avid is becoming more Final Cut-like, but while that seems to be the aim of the new Smart Tool, I find the approach to Avid editing versus Final Cut editing to be so different, that as a whole, I still cut a little different in one system versus another. Just a preference thing.
I work with Final Cut more frequently than Avid, and do prefer it over Avid, but Final Cut has it’s quirks, as does Avid. When I get veteran Avid editors bashing Final Cut, because it needs it’s preferences trashes, I always remind them that Avid needs its database files rebuilt very frequently too. When they bash Final Cut for crashing left and right, I utter one word “Adrenaline”. The best thing you can do is learn both systems to be a contender for the maximum amount of editing gigs, because the argument of one versus the other is very much a stalemate.
Richard Sanchez
North Hollywood, CA“We are the facilitators of our own creative evolution.” – Bill Hicks