[Tim Bird]

Michael,

I’ve had the same issue on occasion on my system (all versions going back to 4.5) and just this AM a colleague experienced the same thing (an occasional thing for him too.)

I appreciate the value of high quality AIFF 48kHZ source as well and use that as the exclusive format of choice… yet the problem arises anyway. Seeing the prevalence of the issue, I’m inclined to believe it is a real and significant problem that deserves attention from the development team at Apple.

Good luck,

Tim

Tim Bird
tim@Blast-Edit.com
Blast Editorial Services, LLC
Richardson, TX 75081
MacPro 2.66, FCStudio 3, Adobe Production CS3

[Tim Bird]

UPDATE:

OK, I just shut everything down and restarted. I imported a piece of voice over (AIFF 48kHz) and started cutting it into the timeline. It played fine.

When I got to the first clip of video, the audio started stuttering/echo/feeding back again. I cued back to a voice over clip and it played fine. Video clip stutter.

The video was brought in from AVC-HD shot on an HMC-150 (not mine) and had played back without a problem prior to my switchover to the IO HD last week (see my other post from tonight.)

Hmmm, thoughts?

Tim

[Tim Bird]

Would that be answer #35 or #36?

😉

Thanks Shane. It seems counter intuitive to have to “uncheck” the option to remove pulldown for 24P footage recorded over 30, since removing pulldown is exactly what I presumed needed to be done.

Does this have something to do with the fact that it’s not 24fps being turned into 30fps, but rather 60fps being converted into 24fps (23.97)?

Thanks again.

Tim

[Tim Bird]

Well, I MAY have solved the problem by unchecking “Remove pulldown on import” in the Log and Transfer window.

I did a test clip and it worked. I am now bringing in the rest of the footage while I keep my fingers crossed.

Tim

[Tim Bird]

Simon,

GENIUS!

I had tried and tried to change the Network settings through the System Preferences… never even realizing that the Finder has it’s own preferences available through the Finder menu.

Somehow the “Network” icon had been unchecked in the finder prefs. I checked that and SHAZAM… there it was. I clicked on the newly restored Network icon in my finder window and up popped all the machines on my Network.

Thanks for the simple, yet elusive, solution.

Regards,

Tim

[Tim Bird]

About 15 years ago, my old film prof suggested that although Avid had the popular GUI at the time, their approach to system configuration was deficient and the company had a fairly self-centered business model (my words, not his.) At some point, he suggested, another manufacturer will come along with a better interface, better business model and a more open platform and Avid will decline in popularity.

Since that time, the issues of openness and corporate business model have been the major gripe of Avid’s customers. This is manifest in Avid’s lack of response to customer feature requests, openness of the systems, ease of integration with 3rd party software, overall cost of product etc. The Dec. issue of POST Magazine carried an article describing Avid’s new CEO’s plans to re-invigorate the company and respond to user concerns.

Having been a dedicated Avid user, multiple system owner, ACSR, beta tester, and instructor of more than 400 Avid editors over the last decade, I was tickled by the POST article. How many times has such a publicity campaign been waged by this company with little or no change in corporate mentality or customer satisfaction? Yet, they are still perceived as the industry LEADER?

Meanwhile, the Avid system I used everyday for so long has not been turned on in nearly a year and will soon show up on eBay (I’ve adopted a more capable and cost effective platform.) If Avid is to remain a leader in this business, they have a lot more to decide than just answers to the questions posed Harcharan.

A few years ago, Oliver Peters suggested to me that “Mojo is just a dongle for uncompressed.” True. It is not capable (as is) of HD output of any kind. Mojo and Adrenaline cripple the the very systems they are meant to enable. Mojo was introduced as an I/O add on to Xpress Pro. This combination of crippled hardware to accompany crippled software was Avid’s answer to the growth of Final Cut Pro… but it came nowhere near the capability of FCP with an AJA I/O (for example.)

Now we wonder what Avid will do two years from now? Responses seem to favor Mojo as a suitable interface for Avid for the future. Ridiculous.

Stop drinking the kool-aid.

Everything customers are asking Avid to provide by 2010 is offered NOW by other manufacturers. Avid is over.

Respectfully,

Tim Bird

[Tim Bird]

My recommendation is to simply export Quicktime movies from FCP. More directly, it may work easily enough to just copy your source media files that FCP created when it imported the P2 DV media.

Back up the clips to DVD and let the Avid import the QT files on it’s own.

Good luck,

Tim

[Tim Bird]

I am indeed a Netflix member, found the movie and added it to my queue… thanks to your recommendation.

I do find many good recommendations for books and movies here in the COW. Perhaps there would be some benefit to a forum on such issues.

Thanks and regards,

Tim

[Tim Bird]

Oliver is right on the money as always, but for safety sake, you might want to handle the original transfer with some old but reliable techniques for doing a matchback or re-transfer of the selects.

1) Have the colorist (or assistant) hole-punch the head of each CAMERA reel (not just the combined spools) and force the A-frame to the punch. The A-frame of course refers to the first frame of in the 2:3 pulldown cycle. This will help you identify where the edits are taking place in the “video” version of the cut and also conform the re-transfer correctly when there is a discrepancy between lists.

2) With respect to the aspect ratio of the final program, consider transferring the one-light into a hard letter box (if the camera original is something wider than 4:3.) Then have the colorist burn the time-code and keycode into the black band at the top or bottom of the frame (or KC at the top, TC at the bottom)… keeping the image area clean. Again, this will help you with the key-code/time-code relationship and provide a clear visual reference for where the cuts are happening… just in case the EDLs get wanky. You can always print the program to tape with a mask in FCP to hide the KC/TC data.

3) Finally, have the transfer house give you a “flex-file” or list with both the Key-Code and Time-Code in it and see if they can PRINT the file on paper by camera roll. I would highly recommend getting the electronic version in a common format for video use (such as CMX) with the key-code data in an auxillary field or in the “comments” column if available and necessary. If all else fails, at least you can manually enter this data into FCP as supplemental notes.

All of these things may be redundant or overkill if all goes well and smoothly. But if there is a glitch in the process, these steps will help ensure that you have a trail to follow back to the original camera rolls.

Good luck,

Tim

[Tim Bird]

According to Panasonic’s own web-site, the AJ-SD93 is designed as a player/recorder… not editor. See link:

https://catalog2.panasonic.com/webapp/wcs/stores/servlet/ModelDetail?displayTab=O&storeId=11201&catalogId=13051&itemId=71646&catGroupId=14595&modelNo=AJ-SD93&surfModel=AJ-SD93

It states that “The AJ-SD93 will record the output from a nonlinear editor. Adding optional accessories will not enable insert editing capability. ”

I take that to mean that it will crash record or Assemble edit only either with 1394 or 422 deck control. I was very dissappointed when I saw this the other day. To get “Editing” capability, you must step up to the $15,000 model.

Tim