[Rosie Walunas]

Yeah, interesting about 7 and AMA, similar to Pan and Scan and having to add 3D Warp to rotate.

[Rosie Walunas]

It’s C300, lav on 1 boom on 2. We’re editing 23.976 in FCP, and those wrong shot cards were shot 29.97.

[Rosie Walunas]

Wow, sure is a workaround. This is too bad becuase it’s several cards that were shot at an incorrect rate them I’m tryin to convert and then send into FCP 7. Not my NLE call, but it’s worth a shot.

Thank you!

[Rosie Walunas]

Forgot about that. We actually stopped installing it when we upgraded because the reconnecting of the stills in the online kept messing us up. Moving Picture was so clunky to me too. Oh well.

Thanks again!

[Rosie Walunas]

Doh! I don’t know why that didn’t occur to me.

[Rosie Walunas]

Interesting. Not a problem for my company as we primarily use AfterEffects. But I’m curious about what other Avid companies will use for complex stills moves if thy do not have AE. I dot really like having to put multiple filters on a still to get it zoomed in in, cropped, and rotated.

Ill have to read up more on 7 and 8.

[Rosie Walunas]

We have them at work and they look and work pretty awesome. Though I’d disagree how real time they are.

The worst is the stills management! You have to do a workaround in order to get the stills to show up in an EDL or even show ref clips in a Bin using the Pan and Zoom. It’s kind of hell when you get to licensing. Loading the still alone does not show the still name anywhere – anywhere ! The workaround is to put the imported still into the timeline, add 3D Warp to bring opacity to zero, then add Pan and Zoom, change the foreground around, then Load the still and do the still move. It’s ridiculous to expect an editor to do this. Almost as ridiculous as the still name not being present when using this effect. Can’t stress this enough.

[Rosie Walunas]

Are you supposed to be editing in 1080p29.97 or 1080i59.94? We’re you supposed to edit in 1080i which is the footage you are working with? If you are supposed to be editing in 1080p29.97 and you have this 1080i, that’s okay, but you will get the green dot because it’s a different rate.

You can Promote the clip with Motion tool when you’re ready (this unlinks the audio) I usually do that at end or when I have to. To apply the motion effect, I think you have to start dragging the effect over, press alt/option, as you drop the effect on the clip – or some combination of using alt to put the effect on.

Render these sections and save often!

Make sense?

[Rosie Walunas]

I do this regularly and like to keep the scratch audio but you can still have the external track to cut with and get rid of the others in the timeline (or solo the tracks on the master clips).

Sync everything, then group. Set up the Source monitor so that it displays multi-cam angles and so that you have the option on the top gray bar area (like where you choose to Load Filler) to display another track of info. This way you can check off the audio tracks you want and video and audio follows video and all that. I’m not sure what you call doing this, but sometimes Avid defaults to showing less info up there, and you need to see more info about your grouped clips.

So then you should be able to choose your audio tracks. Then cut into timeline whatever you want. If it’s the wrong audio, right click on the track then choose the other track.

Hope this is what you need…

[Rosie Walunas]

I had a feeling it was something like this. Too bad. I’ll try this out. Thank you.

It would be a neat feature if that AvidFX stuff could somehow reverse collapse/flatten into tracks on the main timeline. Having that work just read “Filler” alone is dreadful.

Similarly some of Sapphire’s effects does that filler thing too and it can be nightmarish when dealing with stills management, licensing and EDLs. That’s another topic too.

Thanks again.