Trevor Asquerthian
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AE Expressions Coins
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COW Coins
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Interesting question. You might have more luck asking over on the caspercg forum where the devs are active.
Typically you would record ‘clean’ and ‘dirty’ feeds to be able to edit around captions. If you have lots of ISO recording capability and are going to be switching the show in post then you either need to record key/fill of CG as ISO source too, or be able to have CG behave ‘as live’ after the fact.
The former I’ve done – either by recording chroma-keyable single ISO, key&fill as seperate ISO recordings or, where captions are only in bottom half of screen, have the TD build a split – with bottom half of raster being fill and top half being key. (Eg in skiing, where there can be two running clocks as they race close together, this method ties up 2 x record points instead of 4).
The latter I’ve done in the dim & distant past on game shows. The computer generating the GFX would record time of day with its data and, for post, the Gfx company would bring their computer in and we’d feed it timecode from the source VTR. (Back in tape edit days…)
•Should* still be possible – for source TOD you’d probably have to use audio timecode routed to an audio output (Avid has a ‘data’ track which is maybe used for CG data by someone?). But, as I say, Caspar forums best place to ask – do post a link here if you open discussion there so we can follow!
Where this would be especially useful (CG data seperate from pictures) would be all those sport events where only 1 feed is available to the world.
Good luck.
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Select the markers you want to change and right-click and ‘change track’ to the video mixdown track.
(Getting them to appear on the source clip is trickier though…)
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Heresy, I know, but you could try the fluid morph transition in Avid. It’s been in there since Avid Illusion was killed off… Must be at least 10 years now. Back to the Future!
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Edit manufacturers listening to editors and implementing their requests is not new, but did seem to get out of the habit for a while.
Cmx, gvg, sony, Bosch, ampex, paltex etc were all driven forward by the very few editors that used the (very expensive) product. Avid & Lightworks early days was pushed on by feedback & Softimage DS was developed from the way linear editors were working in A84/Kadenza rooms.
Then came the ´democritization’ and price falls (although FCP3-7 certainly had top quality editor input). Coupled with management, rather than editors, making buying decisions.
The increase in noise, and the increase in signal, coupled with the decrease in profit margins and ignorance of ‘big’ purchasers meant that marketing would want an easy to understand big flashy announcement in April and September. Rather than useful incremental improvements. Adobe have turned this around a bit, although they are announcing features that have been in avid for quite a while then failing to deliver on them properly (script sync & morph cut are two that spring to mind)
I get the feeling that stability becomes an issue with this rate of dev too – lots of places sticking with cc14
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[Jason Small] “I might just hire an AVID editor to come in for a day. I’d rather pay a day rate to learn the things I need than sit through another 30 hours of tutorials for projects that aren’t relatable.”
very sensible… although she won’t be as quick training & working as just working…
[Jason Small] “how do you move about your timeline quickly?”
I’m mostly on PC so use a combination of Ctl + bracket to zoom in and out of timeline and ‘rewind/fast forward’ to jump between edits.
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https://www.derek-lieu.com/2014/07/08/26-simple-tricks-for-faster-editing-premiere-pro-cc/ – has avid notes too…
autopatch – https://lmgtfy.com/?q=avid+media+composer+autopatch
select – https://lmgtfy.com/?q=avid+mc+select+tracks+right
(do keep asking questions though… but value the work you do. ‘button pusher since 2006’ should qualify for work that pays enough to train for ‘new’ technologies)
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Nb = iphone for n.b. = notte bene in Latin = pay attention, this may be useful
Select icons are in timeline button bar by default – and are a copy of ‘select track forwards’ functionality in FCP7
I do edits where what I edit goes on-air minutes later. I can go closer to the wire in Avid than FCP7. Haven’t had to do that with Adobe or FCPx yet. (Although IPEdit allows me to make an edit 10 seconds before it hits air…)
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Yes Avid can work the way you want. Probably.
With ‘loosey goosey’ TOD timecode then auto sequence is probably your friend, but copy & paste is not so hot in Avid.
With your 2 x camera sequences, find the one that starts first.
Add a video track and 2(?) audio tracks with Ctl&y and Ctl&u
Drag other sequence to source monitor and patch video and audio tracks. (Nb auto patch is your friend here)
Overwrite
You now have C2, say, on V2 obscuring C1 on V1
Apply a PIP (picture in picture) effect to the first clip on V2 and resize and repo to taste. Drag effect icon from PiP editor to a bin to save that effect.
Select all clips right on V2 (this is the time to assign the three ‘select’ buttons to a keyboard shortcut AND add the alt key so it doesn’t select filler)
Double click the effect you saved to bin and it will apply to all the selected clips
Now you can see V2 over V1. Hopefully you made the pip big enough that you can now sync.
Sync by moving all the selected clips right by the required amount (there’s a number of ways of doing this but hopefully you were close to begin with and then managed to slide with the nudge left/right shortcuts
If you got this far then edit as per FCP7, otherwise employ a trainer to work through it with you
Now Avid is a complicated beast but is a very powerful editor that takes time to learn well. Yes some of it is long in the tooth and it is less than intuitive. But think yourself lucky they haven’t decided to implement a linear edit system.
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This is ‘autosequence’ in Avid and is very useful at times.
Make a feature request at adobe.com/go/wish (the more they receive for particular features, the more likely they are to make it into production)
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You’ll definitely want to convert the 5D footage – unless you have some superpowered machine.
I’ve just spent a couple of weeks with a shed load of AVCIntra 100, 5D, GoPro, UncleTomCobbley and all – it can get very lumpy at times unless converted to a less processor/memory heavy codec (ProRes & DNX being the two favourites).
If you set your previews up to be one of those two then you can use them when exporting. Which can save quite a lot of time.
Personally I often export a section, reimport and cut in on a higher track rather than render – it’s quicker and more robust in my experience