Scott Cole
Forum Replies Created
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Highlight all tracks, Mark start to end however you wish (I usually do a mark in to out with all tracks highlighted). Right click on the sequence and click on “Render in to out.”
M. Scott Cole
Senior Post Production Editor
60 MINUTES
CBS News, NYC
sc6@cbsnews.com
mscottc@comcast.net -
One additional point to my above reply, If you are “Transferring to Playback,” there are settings to map output transfers in the TRANSFER SETTINGS. In the OUTPUT AUDIO MIX section, there is the ability to remap channels hidden in the “edit” button.
M. Scott Cole
Senior Post Production Editor
60 MINUTES
CBS News, NYC
sc6@cbsnews.com
mscottc@comcast.net -
I believe there’s a simple explanation for your problem. We run into this issue on certain shows where we are required to deliver audio on tracks 9 & 10. Even in Direct output, the defaults on the Avid Output tool mix the second grouping of 8 tracks into the first 8 tracks, i.e. 9 gets mixed out onto Track 1’s output, 2 onto 10, 3 onto 11, etc. This is why it appears that Tracks 1 & 2 are double in level.
To fix this, you need to go to the Audio Project Settings, Output Tab. Select “DIRECT OUT” and “ALLOW 16 CHANNEL OUTPUT.” Next go to the HD SDI subtab and allow either 12 or 16 channel radio button. The next step is to use the buttons and pulldowns above the subtabs to remap tracks 9 & 10 (and the rest if needed) to outputs 9 & 10, etc. You will have to click TIMELINE to change it to ALL and then the Grp 1 button to get to the 2nd group of 8
The big problem with all of this, is none of these settings seem to be sticky or get saved with the settings, so you’ll have to be vigilant about making sure the settings are this way each time you need to do this. I’ve been bitching about this for years now.
M. Scott Cole
Senior Post Production Editor
60 MINUTES
CBS News, NYC
sc6@cbsnews.com
mscottc@comcast.net -
Is this a high resolution clip with low compression? Very often long master clips within Avid are comprised of more than 1 video file which due to OS limitations are limited to a certain size. If you load the master clip into the source window on Avid and then look at the timeline for the source monitor (done by clicking on a monitor looking icon in the very lower lefthand side of the screen) you will see several “edits” within the source clip on the video timeline. This indicates multiple video files in single master clip.
M. Scott Cole
Senior Post Production Editor
60 MINUTES
CBS News, NYC
sc6@cbsnews.com
mscottc@comcast.net -
With Media Composer, there’s an even easier way to Match Frame. As Glenn said, you can match using the match button and it will match to the highest indicated track, but even easier is to right click on the track indicator light of your choice on the patch area and you will get “matchframe” as a choice in the popout menu. This way you don’t have to click off upper tracks to match to a lower track on your timeline.
M. Scott Cole
Senior Post Production Editor
60 MINUTES
CBS News, NYC
sc6@cbsnews.com
mscottc@comcast.net -
In order to avoid having to start totally from scratch, you can import any setting from another users setting by doing the following
Click on the “Settings” tab in the project window.
Pull down the FILE menu and click on “Open Setting File”
Navigate to the user profiles and pick the Avid User and go into that folder and click on that user’s settings.
A new window will open where you can drag any type of setting from the other user into your own settings.Two other points; To find the user files, search for your own user file name and “open the containing folder”; Additionally you may have to create a new default user in order to obtain the default settings.
M. Scott Cole
Senior Post Production Editor
60 MINUTES
CBS News, NYC
sc6@cbsnews.com
mscottc@comcast.net -
I’m not in front of an Avid at the moment so bare with me if this doesnt work. After collapsing V2 apply the “submaster” effect then apply the 3D warp. You may have to alt-drag the 3D warp onto the submaster.
M. Scott Cole
Senior Post Production Editor
60 MINUTES
CBS News, NYC
sc6@cbsnews.com
mscottc@comcast.net -
Yes you can… and as an added bonus, if you name them exactly the same as workspaces, when you change workspaces, the keyboard layouts will follow. The same is true of timelines. You will have to enable this function in the workspace settings I believe. Check the helpfiles on workspaces.
M. Scott Cole
Senior Post Production Editor
60 MINUTES
CBS News, NYC
sc6@cbsnews.com
mscottc@comcast.net -
If you are using Timewarp, I’d suggest you try Blended Interpolated as the render method. I find it the best bang for the buck in terms of quality vs render time. If you need the absolute best quality, try fluid motion, though render times go up dramatically. If not using Timewarp for slo-motion (i.e. fit to fill), promote the effect to timewarp and follow the above.
M. Scott Cole
Senior Post Production Editor
60 MINUTES
CBS News, NYC
sc6@cbsnews.com
mscottc@comcast.net -
In most cases, SD 16×9 and 4×3 footage have different pixel counts. And in all cases, HD and SD are completely different. Yes, there are anamorphic situations where SD 16×9 is squeezed into a 4×3 raster. So it’s very easy for an edit application to leave media in it’s native aspect as it’s put on a timeline, allowing the editor (person) to make that choice. At the very least, the method of handling this issue should be a choice for the editor to choose in the settings for the project.
Choices I would envision would be
A) Do not Scale to Fit.
B) Scale to Fit without changing Aspect Ratio
C) Scale to Fit changing Aspect Ratio.M. Scott Cole
Senior Post Production Editor
60 MINUTES
CBS News, NYC
sc6@cbsnews.com
mscottc@comcast.net