Shane Ross
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BEFORE you go to Premiere Pro, use the Media Manager in FCP 7 to copy all of the clips used in the sequence to another location. THEN do the XML to Premiere Pro. Note…any stabilization or other FX you did in FCP 7 will not transfer to Premiere. Plugins are specific to the edit app you are using, so you will have to redo that stuff.
Shane
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Still movements…moves on stills…in Avid is still pretty much in the dark ages. It’s one of it’s weak points. Yeah, it’s doable with Avid Pan & Zoom…but that just basic movement, nothing like what you want. Moving Picture…better, but older app. Sapphire has a plugin to do moves on stills, as does BCC….but none of them offer any ability to mess with focus and blurring. That would have to be done separately, with a different effect.
if you want anything resembling what you are getting with AE…then stick with AE.
Shane
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If this is for broadcast, then it needs to be Rec709
Shane
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[kevin brown] ” Then took these high quality .mov files and convert them into low quality mov files.”
How did you do this conversion…from high quality to low quality? External application? Most external apps, when converting, won’t retain anything that is similar to the originals…any metadata that links them, so if you bring in the low res, and then try to relink to the high res, Avid won’t, as it has no metadata linking to those full res.
The typical workflow is to LINK to the high res files in Avid, via the Source Browser…and then TRANSCODE in Avid to a low res file…edit, and then relink to the full res links. THis way Avid knows the file path, knows where the originals are. If you made proxies outside of Avid, it cannot link to the masters, as it has no reference to them. And as I said, most converter apps will destroy the metadata of the full res, making them unlinkable….at least by Avid.
[kevin brown] “I did this same process with my iPhones 8 plus 4k, 24fps footage. The only difference is these files were already .MOV files so i just converted them into low quality .MOV, did a cut then relink to normal!”
What was your process here? Again, what app did you use to convert to low res?
Shane
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[Arve Hansen] “What are different/best to transcoding these to DNxHR or Proxy?”
DO you want to work in high resolution? Or do the offline (low res) to cut, and then go back to the masters when done? If you convert the 4K MP4 files (recommended) to DNxHR, you’ll see them increase in file size by a factor of 5 or 6…they will get BIG. Why? Because the data rate is higher, making them easier to edit…less compressed. Compressed MP4 4K takes a LOT of horsepower to decode on the fly. So if you do convert to 4K DNxHR, make sure you have a lot of hard drive space, and FAST hard drives…or playback will lag.
Or, you can do the offline proxy workflow…something you can google for the process. Highlight the clips in your project, make proxies (this will take time, so over night is good)…and then you can edit with those proxies, and editing will be easier, but you can relink back to the originals with the click of a button.
Shane
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iMovie is VERY limited in the formats it can use. One of them is even end of life…Apple Intermediate codec. No matter what you export, iMovie will convert it…and you can’t export to AIC. So your best bet is to sync the footage, then export that footage as ProRes 422. iMovie will convert it on import (it doesn’t work with ProRes…and yes, AIC is a lossy codec). It does work with HDV native, but that is not something to convert ANYTHING to that isn’t already shot that way.
Shane
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What is connected to your intensity? Perhaps that monitor can’t do 23.98.
Shane
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COMPOSER Settings…MOVE tab. Check IGNORE TRACK SELECTORS…or if you have that on, make sure the track you want to go to the next event on is highlighted.
Shane
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Sorry for replying late, I forgot to check this when I got in front of my system. I just checked, and no, you can’t step into the color corrections on a Symphony…alas.
Shane
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