[Rosie Walunas]

Shane, thank you very much for this information.

Just checked the source clips and no source time code is attached to the original clips. The BITC also starts seconds into the video. Like you said where ever the play head is parked is where I can start the assigned source code on the reel?

If so, then I’ll have to decide whether or not to change the reels at this point, or add BITCs to the EDL by hand. With that said, if I change the source tc on the reels, will that have any negative effects on the edit later on?

And, next time around, if a clip has BITC is it common to change the source tc from the beginning on for projects?

Thank you!

[Rosie Walunas]

So I’m just talking about a video clip with no audio below/attached to it. So I understand that I have to deactivate that main audio tracks in order for “T” to work the way I want to.

So basically you’re saying there is no way of not having to deactivate the audio tracks when I want to quickly “T” mark a clip and “X” delete (shifting) a video clip?

Sorry this has taken so many words and clarification to explain this.

Thanks.

[Rosie Walunas]

Not Shift + Delete. I want to delete something in the timeline and have the footage shift/move down leaving no gap.

All I’m trying to figure out is if there is a way to “shift delete” a clip that doesn’t have audio tracks below/attached to it without having to deactivate the tracks in the timeline.

My example, that I’m trying to explain, is that I want to “X” delete a clip that happens to not have audio tracks below/attached to it. I can’t just mark the clip with “T” because the In and Out points revert to other areas of the timeline that have audio tracks. So then I have to press “I” and “O” directly around my clip without audio tracks, then I also have to deactivate the audio tracks in the timeline in order for the “X” delete to work.

Does that make sense? I feel this is too many keystrokes compared to what I am used to in FCP. So, is there a way to do this with less roundabout keystrokes? Is there a setting I should change? What am I missing? I’m just trying to make myself faster in this respect.

Thank you.

[Rosie Walunas]

I’ve tried all these commands – option + match frame button, and I’m only just getting a regular match frame result in the Source monitor. What could I be doing wrong?

Thanks.

[Rosie Walunas]

I’ve narrowed my issue down a little more, or at least I think I’ve solved it.

X as a shift-delete was only working if I had the clip isolated by IN and OUT points. When I was marking my clip by pressing T, multiple clips were being marked, but I realized these clips were not placed in my timeline with audio, so I had to deactivate my audio tracks, then mark the clip, then hit X to shift delete.

Seems a bit round about, no?

Obviously I’ve gotten this down to not have to use my mouse, which I love, but is there a faster way to mark a clip and shift delete (without have to deactivate and then reactivate my audio tracks when I don’t have audio associated with a clip or video where I have audio)?

Thanks!

[Rosie Walunas]

Did you find a thorough explanation? I’d also like one. I have noticed that if it is not highlighted when deleting, clips will not shift down.

Thanks.

[Rosie Walunas]

Alright, this makes sense. Thank you very much for all this information. Anything else is always appreciated.

Best!

[Rosie Walunas]

Hi, I’m still trying to understand the difference between Consolidation and Transcoding in terms of starting a project and loading all the footage. AMA linking is easy to grasp.

You write:

“In order to copy the native media to a non-removeable storage location on your computer, it is necessary to consolidate the files. This will COPY the acquired files to a location of your choice.”

and

“So, if you’ve consolidated these files, then transcoded them, you have, on your computer, a copy of the original files as well as a converted copy.”

Then what’s the difference between simply copying-pasting the camera files to an edit drive and then just loading them, say via AMA. I don’t really understand Consolidation, I guess. (I do understand the handlebars concept at the end of an edit.) But what about when you load P2 footage at the beginning of an edit and it is consolidated, that’s obviously living in it’s native codec and accessing that media some how.

Any more information would be appreciated.

Thanks!

[Rosie Walunas]

Okay, great. All this makes sense.

Is there any risk to renaming those numbered folders. You did mention that new footage or material would be an issue. What if you brought in that new material, Avid created it’s database, and then I transferred those files to the renamed folder? Shouldn’t be a reconnecting issue, no?

Totally get what you mean about renders. But, actually how do you locate all your renders in general – so that one can delete them to save space? Say I have many different sequences I’ve rendered and have ‘left behind’ in the edit process, and I want to get rid of their renders to save space.

So many details, but I like to have a good understanding of this stuff as I’m doing assisting stuff.

Thank you!

[Rosie Walunas]

How do you get into/use Media Mover? Any suggested tutorials?

Thank you.