Shane Ross
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Open the SOURCE BROWSER. Navigate to the PRIVATE folder. Select it, and choose LINK.
Then transcode that footage to an Avid codec.
Shane
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Put your main image on V1. Put the scratches or grains you want to overlay on V2.
In the category of BCC KEY, look for BCC COMPOSITE, or just search the effects for BCC COMPOSITE. Apply the effect to V2
Go into EFFECT MODE…and in the effect, about 1/3 of the way down, there’s a drop down menu that says APPLY MODE: NORMAL. Click on that, and choose either OVERLAY or SCREEN. Or look at the others to see what they do. Sorry, the picture I took below is the wrong menu..it’s the drop down option just above it.
Shane
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OK, the example you show is very simple. It’s a film scratch/dust shot on the bottom layer (available from Pond5 or shutterstock…TONS out there for free as well) and then the still or video on the layer above, and the PICTURE IN PICTURE effect on it. Keyed to do a slight zoom in.
NOW…if you want the still to be on the bottom, and the film grain and clutter to be overlaid on THAT…that’s the tricky part. There’s no built in way to do that. You need to use third party plugins for that. Sapphire and BCC have options for this (Composite or Blend modes), but if you don’t have the spare cash for those (they offer LOTS of other things, but I get it, cost is a factor)…then there’s a free option.
MDV…free, works great (I’m the one who made that tweet in the article).
https://www.provideocoalition.com/at-last-easy-blend-modes-come-to-avid-media-composer/
Shane
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No, sorry, you cannot have two data rates inside the same file. I mean, it can be variable, but that means that it just hovers near a set data rate, going slightly up or down as it plays. But no, you can’t have a really high one in one area, and then really low in another.
Shane
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Yes, they come in at the level they were mixed, and are not raised or lowered. This is true of ALL imported audio.
Shane
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You’ll have to use Resolve as a go-between. Export an XML…bring that into Resolve…and from there, export for Avid an AAF, and have it create Avid media. And that Avid media will have to be put into the Avid media file structure.
Shane
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[Brett Sherman] “I think this post is rather tongue-in-cheek, but the notion of what software is used for Oscar-nominated films is a rather silly to me.”
That was the WHOLE POINT of the post…tongue in cheek. Marketing teams from all the NLE makers try to ride the wave of the popularity or award winning-ness of a film to jump in and say “CUT ON AVID!” “MADE WITH FCP-X!” “ONLY POSSIBLE WITH ADOBE!!”
And then there are all the people who try to tout some edit software as superior to others by showcasing what projects they were used to cut…and try to say that the software has more prestige because it was used on this or that.
Shane
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Which version of PPro are you running? Because this was a BIG issue with 2018 and earlier…supposedly fixed in later versions. But yeah, huge pain
Shane
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We all know PARASITE only won best picture because FCP 7 was used. That’s what marketing people love to remind us about.
And yeah, I’m pretty sure it’s flying off the e-bay shelves now. “I WANT AN OSCAR WINNING FILM! MUST HAS FCP 7!! Wait, what do you mean it won’t run on Mojave?”
Shane
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