Scott Cole
Forum Replies Created
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Michael is right. Linear edit systems, which are the origin of EDLs always worked with “exclusive outs,” Non-linear edit systems tend to work with “inclusive outs.” In other words, in a typical CMX session (the granddaddy of computerized linear tape to tape editing), the OUT of your current edit became the IN of your next edit. This means that the Timecode listed as the OUT wasn’t actually included, but excluded, in your current edit, hence the term “exclusive outs.” In the non-linear world, the frame you mark as your OUT actually is included in your edit, hence the term “inclusive outs.”
This discrepancy is a bane to almost all editors who are transitioning from linear to non-linear, but explained once, it typically becomes rote. Until you are asked to work with some new device, at which point you begin to wonder, “hmmmm is this out inclusive or exclusive on this device???”
M. Scott Cole
Senior Post Production Editor
60 MINUTES
CBS News, NYC
sc6@cbsnews.com
mscottc@comcast.net -
I finally had a chance to call Avid Tech Support on this issue. They are aware of this issue and consider it a bug that they will not fix. The support agent did however give me a console command to deal with it.
The console command command to deal with this issue is “hdTitleFilter”. It is a toggle command that can be entered once per session and does actually result in a significant difference in the import.
M. Scott Cole
Senior Post Production Editor
60 MINUTES
CBS News, NYC
sc6@cbsnews.com
mscottc@comcast.net -
Jeff, I would love you to try it. Obviously, make sure you are using a good “Client Monitor.” And use a test graphic with some sharp fine details.
Yes, I’m at the full resolution output mode. We use Avid DNX145 all the time.
If by some chance you subscribe to Showtime, the project I discovered this issue on is 60 MINUTES SPORTS on Showtime.Thanks.
M. Scott Cole
Senior Post Production Editor
60 MINUTES
CBS News, NYC
sc6@cbsnews.com
mscottc@comcast.net -
Even something as simple as a space at the beginning or end of the file name and before the dot preceding the extension will cause an “invalid file name” issue on import. Try renaming the clip to remove any possibly illegal characters or spaces and re-import.
M. Scott Cole
Senior Post Production Editor
60 MINUTES
CBS News, NYC
sc6@cbsnews.com
mscottc@comcast.net -
A better way would be to use the x and y scale parameter with no keyframes, then on the same effect, keyframe either the position z parameter, or the target size parameter. This way you are only doing ONE effect on the clip, and not two effects with twice the amount of pixel twisting.
M. Scott Cole
Senior Post Production Editor
60 MINUTES
CBS News, NYC
sc6@cbsnews.com
mscottc@comcast.net -
Glad it’s working out for you.
M. Scott Cole
Senior Post Production Editor
60 MINUTES
CBS News, NYC
sc6@cbsnews.com
mscottc@comcast.net -
Another method may be to “collapse” the two clips into one, then apply the matte key effect and start keyframing it. Normally “collapse” is used for combining multiple layers into one layer, but it can also be applied to several clips all on one layer creating one “virtual clip” which you can than apply an effect to. I’m not sitting in front of a MC right now, so I can’t try it, but you can.
M. Scott Cole
Senior Post Production Editor
60 MINUTES
CBS News, NYC
sc6@cbsnews.com
mscottc@comcast.net -
I’m not sure what your needs are, but a way I can think of quickly off the top of my head is alt-drag them into a timeline. First clear the in and out marks if you need to. Then simply solo track 1 on the overall timeline. It’s not perfect, as in you will be viewing all the clips in one sequence, but it may be something you can make use of.
M. Scott Cole
Senior Post Production Editor
60 MINUTES
CBS News, NYC
sc6@cbsnews.com
mscottc@comcast.net -
The problem with this in the Avid world is that Media Composer treats keyable clips as two separate clips, fill and key, collapsed down into what looks like one track. So read up on timewarp in the help files, and you may want to make use of Fit and Fill. But you will eventually have to apply the speed change to both of the tracks by stepping into them. It can be an annoying process. If anyone has any better ideas, I’d love to hear them
M. Scott Cole
Senior Post Production Editor
60 MINUTES
CBS News, NYC
sc6@cbsnews.com
mscottc@comcast.net -
Do you by any chance have an IN and OUT marked surrounding the keyframes? Any action you take on one keyframe will affect all keyframes between an IN and OUT point.
M. Scott Cole
Senior Post Production Editor
60 MINUTES
CBS News, NYC
sc6@cbsnews.com
mscottc@comcast.net