[Rosie Walunas]

Even with the minimum of 16GBs? That’s kind of what concerns me most about the MacBook Pro combo with FrameFlex on 4k media down scaling in an HD project; or all native 4k media and project alone.

Good to know you’ve had a good experience thus far.

[Rosie Walunas]

I make EDLs this way as well. You’ve probably done all this, but just in case. Do a hard shut down and start up. I’d make sure your sequence starts at 01;00;00;00. I’d have all the tracks selected with in and out points on the seq. I’d try cutting the timeline into a new timeline as well as a new Bin with a simple name. Have nothing else in that Bin. Render. Save. Close out of Avid entirely. Then Open Bin. You could even try create a new project with a new Bin in there and move the seq into there and open it that way. Sorry if you already tried all this! You never know.

Good luck.

[Rosie Walunas]

You might be able to Import the transition media and utilize the alpha channel.

But check out this tutorial: “Use Flash Transitions to Stylize Your Edit in Avid Media Composer” https://www.youtube.com/watch?x-yt-cl=84503534&x-yt-ts=1421914688&v=ynsXNOBjb6I#t=446

This pretty much shows you how to double that effect media up, apply a matte key and manipulate the layers to complete the transition effect. Info you want starts at about 5 minutes in, but it’s pretty interesting overall. You don’t need Boris or any 3rd party plugins.

Good luck.

[Rosie Walunas]

I just read Rosetta was killed with Lion. Yet FCP7 ran on OS’s up to Macericks. How would this be any different? Anyone with first hand knowledge?

[Rosie Walunas]

Does anyone know if you buy a new MacBook Pro Retina now that ships (not an upgrade from Mavericks) with Yosemite on it, if FCP7 can be installed?

Thanks.

[Rosie Walunas]

That’s what I feared. Thank you for confirming.

“You can’t install older OS on the current drives” meaning that Yosemite on that new MacBook Pro retina cannot take an installation of Mavericks or Mountain Lion?

Thank you again.

[Rosie Walunas]

Yes. Look at the color profile if you can. And AMA is best for loading because color space is preserved, in theory.

When Importing anything, I always choose 709, which is telling the Avid not to touch the file, to do nothing to it. If you choose RGB in any case Avid remaps the color of the file being Imported.

[Rosie Walunas]

Not at an Avid, but when you go into Effect Mode on the clip, in that window at the bottom corner, do you see a “3D” “3D Warp” button symbol you can click? If you see something like that, click it. Otherwise, don’t know if the top of my head.

[Rosie Walunas]

I run into similar issues with layers of mixed frame rates and effects, as well as when using Sapphire effects even after rendering. It sucks for sure, and the system crashes often when it hits these sections.

Have you tried changing the playback from the “green” high res mode to a “yellow” mode?

I’ve also hear that play toggle length works well for people if they are susceptible to crashing.
https://hershleder.com/content/playlength-toggle-improving-system-response

[Rosie Walunas]

Hi again. Just watch this tutorial, and I’ve seen the other low res to high res tapeless one.

I’m just confused about how the DVCPROHD tapeless would be handled low res to high res if these people want to be editing in Pro Res only, which of obvious reasons they are adamant about.

I understand the pulldown check box for this format, but obviously if this compression only comes in as DVCPROHD, the nature of that will disrupt this ProRes low res to high res workflow, no?

Not sure what to do. It seems like too much footage to transcode to ProRes HQ then recompress down to LT on their edit drive.

Thanks for these guides!