[Ricky Barrow]

also look into Avid Community forums ( 2012 ) for “Unlocking Alpha Track”

Ricky

[Ricky Barrow]

I do not know if this still applies. Please note this is taken out of context from the original post but may be helpful … In 2001, Jeff Greenberg wrote:

“How does a video mixdown help this to allow you to use this mattekey+alpha, separated from it’s original imported file? An imported matte channel cannot be modified – it is locked. A video mixdown of the matte can be modified in anyway the editor sees fit.

if you step into the effect, opt-copy the V3 track (the alpha channel) you will copy the alpha channel to the clipboard and automatically load it into the source monitor.

You can then overwrite this over the original imported effect.

On your timeline now, you have the black and white alpha channel, ready for a matte key effect, without having to create more media on your drives with a mixdown.

And you’re right, the stripping out method isn’t going to work with the luma key.”

Ricky

[Ricky Barrow]

I was just guessing, thinking that if you group by TC and/or AUX TC … if they are the numbers in your post then the group will be 6 hours long with a lot of black between the 2 different camera clips. If you have sync points and mark those “in” and group by in points then it will be about 6 minutes duration. This may not be your issue according to your reply but it was the first thing I thought of. I also never had that issue and probably can’t solve it. Good luck!

Ricky

[Ricky Barrow]

Are you multi-grouping based on TC?

Ricky

[Ricky Barrow]

Unfortunately there is an old saying but true – garbage in = garbage out. You’ll never get any better quality than 10 fps and only make things equally bad or worse when going to 24 or 29.97 for DVD. DVD must be MPEG2 whether encoding outside or inside of Encore.

ALSO, there is a limit of thin lines, graphics or fonts, that must not be less then 3 pixels thick – that is too low for me if I want good results. Making a progressive DVD might help some if played on a progressive DVD player on a progressive monitor.

Ricky

[Ricky Barrow]

On Windows, when linking, you can move from system to system and keep the link valid IF the drive you are accessing has the same “drive letter”. You can specify drive letters for drives through disk management. If the drive letter is not the same and you cannot assign the same drive letter then you’ll need to relink “not using the relink option” – see below. Also you will break the link when you move from WIN to MAC, again, use the info below to successfully relink.

I have not found “relink” to be 100% successful in these cases, rather, in the same bin where you originally linked (where the clips are offline) you must link through input/source browser again to the same files and that will cause the previously linked clips to come back online, even if you have renamed them in the bin.

Bouncing between MAC systems has not been an issue for us.

Ricky

[Ricky Barrow]

“Job ter Burg” posted this in 2014 – maybe it will help you as what he says is correct:
SubCap supports two formats. One is .STL, the other is .TXT in a specific format, but it can be created or modified by any text editor. It’s basically text that looks like this:

@ This file written with the Avid Caption plugin, version 1

01:00:49:21 01:00:54:15
Text line one.

02:56:53:00 02:56:55:13
Text line two.
And three.

As said, you’ll need the timecodes, otherwise SubCap has nothing to time the captions to.

Ricky

[Ricky Barrow]

What is the extension? Is it truly “word” – .doc or .docx?

Ricky

[Ricky Barrow]

I don’t know about the little circuit board. Search for RS422 pinout -maybe that will help – that’s basically what you need for deck control, I believe.

Ricky

[Ricky Barrow]

Issue #4 – to add to above workflow:
When I remove the drive with LoRez transcodes and relink to raw camera files, my sequences now show all media zoomed in – I am seeing the 3840×2160 in a 1920×1080 window. When I match frame once, I get the group I edited from … when i hit match frame again it matches to the source and the video pops fullscreen as set in source settings.

Issue #5 – when I match frame once to the group it is like the LUT has been doubled and color is very vibrant but blacks looked crushed and when match framing the second time which matches to the source, I am back to the original linked clip with fullscreen AND LUT all back as originally set.

Very frustrated as I know my workflow is flawed AND I do not know how to do this correctly!

Ricky