[Shane Ross]

No…I hear system sounds from the computer. Well, through the mixer, as I have the headphone jack out connected to it. So I still hear all the system sounds

Shane
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[Shane Ross]

Check through these steps I laid out in this tutorial. You don’t want to BATCH CAPTURE…that’s only for tape. There’s a different option for tapeless…but it’s been too long, I forgot it. I too would have to watch my own tutorial to remind myself

https://library.creativecow.net/article.php?author_folder=ross_shane&article_folder=tapeless_online&page=1

Shane
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[Shane Ross]

That….shouldn’t happen. When Avid is running I can play QT videos or videos from the web and hear them just fine. Oh, but I do have a dedicated video IO card…wonder if that matters.

Shane
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[Shane Ross]

You want one of these…these are cards that install in PCIe slots.

https://www.blackmagicdesign.com/products/decklink

Shane
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[Shane Ross]

[Francois Jean] “Since AVID original goal was to off line and generate an EDL maybe you could use this path to DaVinci resolve then via fcpxml to the wonderfull FCPX NLE then back to AVID using EDL X … which can convert fcpxml to EDL CMX 3600 which AVID loves.”

Again, this will only convert sequences, not full projects.

Shane
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[Shane Ross]

There is no way to convert projects…only sequences. Wait, sequences in FCX are called PROJECTS, so this is confusing. You can only convert TIMELINES…not full project, or library, organization. It wasn’t the best idea to have someone do all of the importing and organization and string outs in a different NLE that you are editing in. You’ll spend a lot of time and effort getting it over to the NLE you are using just so you can work.

But then they want an Avid project for the archive? No…you won’t be able to do that. If this client is cutting on Avid, and wants an Avid project…you need to cut on Avid. You can’t start in Avid, transfer everything and cut on FCX, and then convert it back to Avid. You need to start in Avid and stay in Avid.

Shane
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[Shane Ross]

[Grace Danti] “Sub-masters are copies of the originals that are lower quality .mxf’s (proxies)”

No, that terminology is not correct. A SUB-MASTER, in post terms, is either a reel of selects or other footage used to create the master. This goes back to tap days where you’d have a sub master of something like a studio shoot, or clips on a clip show, that you then cut into the master. But that doesn’t pertain here.

Another version of Sub-Master is a sub-sequence that you break off from the master sequence. So lets say you have your main sequence you are editing in, and you mark IN and OUT, and then sub that out…that’s a SUB-MASTER of that sequence. If you have one long master clip, and do the same thing, in and out points and make separate clips, those are SUB-CLIPS.

But that term is not applied to footage that shot. You have the Camera originals, or sometimes camera RAW, and then the low res proxies. Those aren’t referred to as sub-masters as far as I know.

[Grace Danti] “and the transcodes were the files AVID creates for those sub-masters. “

Transcodes are media that any edit software creates when it converts the camera footage into an editable format. Typically done from the camera masters, and can be transcoded to high res finishing codecs, or offline cutting codecs.

[Grace Danti] “In order to use AVID you need both the sub-masters and transcodes to edit, not just the transcodes on their own.”

That’s…unclear. Avid does need to ACCESS the camera masters via AMA LINK or linking via the source browser…so you bring that in and have clips that link to the camera masters. And then you TRANSCODE that footage to full res, or to offline editing codecs. Typically you’d do this from the camera masters, and not the proxies. Some edit software allows you to work directly from th proxies. Avid CAN, but it depends on the codec. So what you do is LINK, transcode, and then edit with the transcodes. But keep the linked clips (separate bins), so you can relink to them later and either online with those…linked to the camera masters, or transcode to a higher Avid resolution. But you don’t need both available at all times while you edit.

Shane
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[Shane Ross]

I work in documentaries too, and reality (where easily only 1/100 of what is shot is used). This is why the offline/online workflow is good. And premiere Pro has a good on. Convert to proxy media and instantly switch back and forth between that and the master footage. So I’d recommend that workflow.

The reason your footage takes up so little space is that it is highly compressed. Editing with that format takes a lot of UMPH because decoding it on the fly takes power. On the other hand, codecs that are good for editing have a higher data rate, because they aren’t so compressed…so they are easier for the computer to deal with.

Shane
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[Shane Ross]

Mp4 is a highly compressed FINAL DELIVERY format, mainly for the web. And there are various MPEG-4 broadcast formats, and there are some cameras that shoot to that format…but a file for you to edit should not be MP4. They really need to provide you with either ProRes 422, ProRes HQ, or DNxHD.

The file you upload to YouTube is not one that you should have to make edits and additions to.

Shane
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[Shane Ross]

Yup…email me at comeback at mac dot com.

Shane
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