Hmmm…wish I knew. Been a while since I used the Canopus…and 11 years since I used FCP Legacy. Shoot… Restarted everything since, Still doing it?

Is this a personal tape, or a Hollywood movie or TV show purchased? Sounds a little like old copy protection.

First off, are you sure it’s REQUIRED to have interlaced? If so…shoot interlaced and deinterlace the progressive master.

Second…1080/59.94 in progressive and interlaced is actually different frame rates. 1080i59.94 (interlaced) runs at 30fps (29.97). 1080p59.94 (progressive) runs at 60fps (59.94). What the number after the “i” and “p” stands…

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Frame rate? 23.98, 24, 29.97, 59.94? FCP 7 can’t do 1080p60…59.94

That’s your problem…that’s squeezed 1080…a format HDV and others shoot. FCP doesn’t have a setting for that in ProRes. You need to convert to 1920×1080 Square pixel ProRes. Then it’ll work. Anamorphic ProRes doesn’t exist, thus why FCP is having an issue with it.

OK, the footage is ProRes 422…but is it a standard frame size? 1920×1080? 1280×720? Is it 2K or 4K footage, because FCP 7 isn’t designed for above 1080p formats…discontinued before they were more common.

What is the source for those clips? A camera? which one? Screen captures?

Avid has this set to a default location that cannot be changed…to my knowledge.

So, bottom line…you need to find an app that is compatible with your current OS and computer (what are those, by the way? What computer, what OS?) that can convert the files to a type that Avid Media Composer 6 can import. If you have an older OS, this will be tricky as those are more modern cameras and formats.

Sorry for replying to this late.

Now, because of you lack of familiarity with Avid, you are painting yourself into a corner. First off, you have a very very old version of Avid that doesn’t deal with the media type the FS7 and Alpha 7 shoots, and the plugins for dealing with them aren’t compatible with that version (Nablet plugin). Later versions…

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You’ll need an OLD used iMac if you plan on continuing to use FCP Legacy. Talking one that can run High Sierra, which is as high as you can really go. So like a 2015 model, or earlier. Your BEST bet would be to convert the project to XML and move forward with Premiere pro. Zero point in trying to shell out money to keep this in FCP.

email me at…

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YUP! Shoot me an email at comeback at mac dot com. Zip the FCP project file and attach it. I’ll return an XML.

“Video Levels – “Must comply with ITU 709. Luminance (Y) must
not exceed 714mv (100 IRE units) & Chrominance levels in the Y/Pr/Pb
domain must not exceed 785mv (110 IRE units).” How do I check if my edit complies with these, and if it doesn’t, make it do so?”

You need video scopes to check this. There is a line at the top that is the ceiling…

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OK…lets first talk about how each NLE works with media, because it’s very different. FCX will link to the media, and even transcode that media when necessary, and keep the frame rate, no matter what you project settings. Avid, can LINK to the media, sure, but really wants that media to be transcoded to Avid media. It CAN work with linked…

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Sorry not seeing this until now…but equally sorry as I don’t know what the question nor the issue is. Can you clarify, or is it tooo late?

OOO…right, I keep forgetting that you can change it in SOURCE SETTINGS! I need to remember that, as I have a lot of footage that comes my way. I just keep using CT.

You mean 23.98fps (24fps). WELL…I still have an old machine and Cinema Tools for times like this. Because the NLE’s will allow you to convert the clip internally, but a couple don’t adjust the audio. Avid doesn’t adjust the audio, but you can do frame for frame of the picture. Adobe After Effects will do this…

You are doing nothing wrong. It’s a bug. Either update, or use something else. Titler+ is a steaming pile of trash. When you CAN get a title typed up and where you want it, it’ll suddenly ZIP OFF TO THE LEFT when you render and play back.

You can also not render the title, that might help. Dunno. it’s so unpredictable I don’t use it.

Well, you have only half the information you need in order to proceed. You have the offline media, but….how was that created? In Avid? In Resolve? What steps were taken to make that offline media? The offline/online workflow requires having a plan from the start.

AMA or UME link the master footage, transcode it to offline…edit…relink in…

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If you tried multiple Nitris units that you know are functional, but none of them work on this computer, then that would point to an issue with the computer. Most likely the slot the card goes into. That might be fried.

Advanced Video Codec…is that AVCHD? They want something delivered AS AVCHD? Not sure you can do that…that’s acquisition only, AFAIK. Can you verify the codec?

Printing to MiniDV won’t improve anything. it’s still SD, and the lowest format of SD broadcast quality tape there is. Well, Umatic…but it’s really not better than MPEG-2.

Sorry…this happens to all of us. The best we can do is make the best master possible. What the network does to broadcast it is out of our control.

Re-download the installer and try again.

I WILL WARN YOU… Any project you make in First cannot be upgraded nor opened in any full version of Media Composer. No bins can be opened either. And your export quality is limited to H.264.

Media Composer first is a teaching tool to get you used to the program without having to pay for it. You… Read more

Sorry, you are going to have to explain your question a bit better. I don’t understand what you are trying to say.

Shane
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When you have an IO card installed and used for Avid playout to an external monitor…audio goes to that device. Period. There is no way to send audio out a separate device, or thru the computer. If you have the device active in Avid, audio goes to it. Always.

Sorry man.

Shane
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Read my blog, Little Frog in High Def

That’s how mixing down works. It basically renders what it sees as one file, everything baked in. A separate file with only the sequence timecode, not the individual file timecode. So a mixdown of the entire sequence is one file of the entire sequence…and only has sequence timecode. Need them individually, then you need to do it one at a… Read more

Sorry, no still attached.

Shane
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Read my blog, Little Frog in High Def

You can transfer sequences, not full projects. you’ll have to rebuild the projects and bring in the media, transcode it, all that. Yeah, there are many editing features that Avid has (most NLEs have) that resolve doesn’t , because it’s a coloring tool with editing abilities, not a full blown editor.

Shane
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Read my blog,… Read more

OWC has options…

https://eshop.macsales.com/shop/turnkey/MacPro?_ga=2.162698556.1835049443.1594258823-579832508.1592033844

Shane
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Read my blog, Little Frog in High Def

Sorry…not ignoring you. Normally I don’t like to say, “nope, sorry, can’t be done” because invariably SOMEONE will come along and prove me wrong.

Although…maybe I SHOULD say that so that someone WILL prove me wrong and I too can switch to that option:

Nope, sorry…can’t be done.

(anxiously awaiting to be proven wrong)

Shane… Read more

If you don’t have too many to convert, I can do it for you.
comeback at mac dot com
Shane
Little Frog Post
Read my blog, Little Frog in High Def

Want simple and easy…and affordable? Look at Endcrawl.com. I did rolling credits a few times with AE and photoshop and did all sorts of trickery to get things right. Endcrawl was used on the last thing I did and boy, did that save headaches.
Shane
Little Frog Post
Read my blog, Little Frog in High Def

Wikipedia is a good place to look. Look up each codec and read up on them.
Sorry, don’t know what you are looking for as an answer.
Shane
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Read my blog, Little Frog in High Def

[fernando alves] “Which one of the h.264 steup is best to delivery a master in this format? MATCH SOURCE – HIGH BITRATE?”
I would never…and I mean NEVER…deliver an H.264 as a “master” format. Ever. It’s not a mastering format. It’s a delivery format for the internet…and some variants of it are for broadcast. But it’s not a mastering format.… Read more

Manually lower and raise audio on the timeline. You can keyframe the audio and do a decent mix in Premiere.
Shane
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You are right Glenn. The 2017 has a Thunderbolt 2 port (two, actually), so a Mini-Monitor is the perfect solution. TB to the Mini…then HDMI out to the TV.
NOTE!!!
Anytime you have an output device like that connected…be it a Mini monitor or an Avid box (DNxIO or Mojo)…audio gets routed to that box. So if you are monitoring audio from the… Read more

Avid DOES provide something of quality to it’s users. It’s main focus is on other things…still has roots in features and TV, and needs to meet the needs of the core users. It can’t chase everything. That is why there are choices. You can buy FCX for $300 and never spend another penny on it again, and have access to those plugins, and make this… Read more

Well, I use a handful often. I us the Paint Effect for a wide variety of things…Blurs, highlights, light flashes…custom transitions, vignettes (blur and darkened edges or both). I use the Animatte quite frequently. 3D Warp ALL THE TIME. Spectra-matte for green screens. Reformat because I deal with a lot of archival.
But the yes, I do lean on… Read more

[Pat Horridge] “If you have a mixed codec timeline and mix down as SAS you will get a file with mixed codes. The metadata of the file will be flagged as the first codec used.”
Are you sure? I didnt’ think that was possible. Videos can be one codec only…from all I know. This goes against what I’m aware of.
Shane
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Couple ways.
1) In your new project, to go FILE>OPEN BIN, and go to the DOCUMENTS folder, and then AVID PROJECTS folder, navigate to the project you want to grab something from…locate the bin, open it. And then OPT-Drag that into another bin.
2) On the FINDER level, locate the bin of materials you want in the old project. Copy that bin.… Read more

Not sure what to suggest. I’m a Mac editor forced to work in a PC environment due to needing to log into a station remotely. Biggest issue with me is modifer key muscle memory.
Not sure what to do about your sequences beach balling, as I said, I’m usually on a Mac and don’t have those issues…unless I do a heavily effected shot or sequence.… Read more

You can’t get full yellow (best performance) when you have ANY hardware on the system…not just BMD hardware. Avid hardware, AJA…doesn’t matter. If HW is activated, that option isn’t available.
WHY? No clue…not an engineer or coder. It’s just the way things are. I’m sure there’s a very valid reasons, like it would look like poop on the… Read more