[Steve Heffner]

Whoops, sorry. I was completely on the wrong tool. Even as a noob, it’s embarrassing! Roll tool and not on cut – so of course the tool is disabled. Okay, okay. Slip tool!

[Steve Heffner]

Actually, that is the playhead WITH the tool to the left of it. I’m experiencing the same thing. There are heads and tails on the clip so please advise if possible. New to Premiere also, coming from Media Composer. Thanks.

[Steve Heffner]

Pat,
Thank you for the response. Coming from FCP7, I’m just wrapping my head around how MC handles things.
I appreciate your input. I did enough to know, already, that I’d better stick with this master project, for now. I was merely hoping that i could just do something like “save a copy”, and that would make it unique. However, I understand why MC is controlling the bins on a project level. And I can live with that. So, until I’m better versed, I’m playing it safe, focusing on the cut and will organize my stuff separately within the project or pare it down after the cut is more evolved.
Again, your response was much appreciated (and helpful, moving forward).
Sincerely,
Steve

[Steve Heffner]

Thanks, for the response. I did create a new project. I think it just took me a moment to realize I can only move the sequences out of the bins, but the bins themselves cannot be moved from the “other bins” folder. Which, in Avid world, makes total sense because those bins have to remain project specific. That said, when I am altering these bins in the new project (moving sequences, etc), it does alter the other projects bins, correct? So, I have to be mindful that I’m making copies and not moving stuff?

Thanks for the patience, too, I’m just wrapping my brain around how Avid deals with things, coming from FCP7 land, where, if you copied a project, it was your copy and you could do whatever you wanted with it. So, there’s def a learning curve but I am REALLY liking MC.

[Steve Heffner]

Hi. There’s a $20 plug-in available through Digital Heaven that might make life easier for you. I haven’t used it but it was specifically created for this type of scenario. Here’s a link, you can watch a demo first and download a trial. I’ve used a few of their plug-ins. A good company.

https://www.digital-heaven.co.uk/dh_box

[Steve Heffner]

Jeremy and Noah: Thanks. This pretty much answers my questions.

[Steve Heffner]

Yeah, I’m familiar with the spanned clips and all that. I hear you on the metadata. That’s why I was specifically asking if there was an override on the camera for start stop.
When I get the media, it’s already ingested. Right now I string everything out on a timeline and scrub through and mark the media. But as you know, when you mark media on a timeline, those markers don’t hold when you matchframe back (I’m NOT talking about sequence markers, I am talking about media markers – I select the media in the timeline to mark ON the media).
Basically, your media in the browser is not marked unless you open each baby clip in the viewer and mark it there.
I was hoping there was a way to have an entire span of media (a reel, so to speak) where I could scrub, mark, log and subclip from the main chunk and then just drag all of those sublcips to appropriate bins.
But I guess I have to make due with the clip based deal. This make sense or is there a different approach I can or should take? If I’m doing something butt backwards I’m open for suggestions.
Thanks for responding.

[Steve Heffner]

Jared,
Thanks and will do.

Steve

[Steve Heffner]

Thanks everyone, thus far.

Sean,

Yes, the editor told me the tower is plugged into a controller. I want to see it for myself so I’m going down there today. I am not sure what controller it is so I will find out and post.

He’s saying stuff like,”all we’ll have to do is jut format the RAID” but to me nothings is ever that simple and since I haven’t done this before and I’m the assistant, I’m just being cautious and anal retentive and want to have as much info as I can so I can ask HIM questions and give some directives so we don’t end up with a potential catastrophe.

He’s working with HDV footage and we will always have our tapeless footage backups backed up (and master tapes) in case of a major failure or something.

So, if the controller is set then I’m assuming we could just set the raid up through the controller and he’s good to go?

Steve

[Steve Heffner]

Sorry, was half awake.
We are digitizing through Kona using Studio2. Didn’t mean importing footage into final cut, although that will obviously be the case after we digitize.