Is there any short cut, to stop overwriting any track you step thru. ie moving audio tracks up in to a Pro Tool export. Loving the move keys duplicating is easy but I would prefer to only over right the track you are going to...stupid question sorry. TIA.
Just wondered if we have any users on this forum who have made the jump to the 10-core (20 hyper) i9 - 7900 yet? If so, how does the performance compare to the previous i7 generations or with dual Xeon systems such as the HP 840 or the Lenovo workstations (like the 910)?
I had been considering updating to a dual-Xeon Lenovo workstation with a pair of 2.1 GHz 8-core processors for Media Composer and Resolve work but I could shave off up to $2K going with an i9-7900 system so I thought I'd ask this group if they have any real-world experience to share.
Any thoughts are appreciated.
Thanks
Moved to Media Composer First forum. You can find it here:
I exported a seq to an external 1TB drive as an AAF and then dragged the AAF back into a test bin, all good, all works, audio and video.
I then AAFed the same part of the doco into our new isilon drive (on our network) and dragged it back to the test drive and all the media is offline. I also tried AAFing to the isis in an GFX space, same issue.
I work for a TV network and need to AAF to the new isilon drive for storage.
What is going on?
All good to an external drive but the network drives do not work, with AAF's?
I also would like to know what the Virtual (v:\test drive), what is the virtual part of the path name in my drive location?
Any questions please ask.
Thank you
john
I import audio (16bit@44.1) and video (chosing to preserve the native file), sync them, and then export same as source. The exported audio is only ~400kbps instead of the source bitrate of 1411kbps. I cannot find any way to fix this or specify an audio bitrate when exporting video.
Hello,
I have been given a collection of mp4 video files.
When I try to import them into Media Composer, it takes forever and a day. The total size of all the files is a bit over 1 gig.
Should these files be converted to another format to do the importing faster? If so, to what type of files?
I have tried AMA with other files and somewhat it became a disaster at exporting time, so I am staying away from that.
Thanks for info.
Bert
I have an issue when exporting my timeline as a quicktime reference movie. Upon sending it to Squeeze for compression I found that a few of the video sections were showing up as blank white. This is my usual M.O. for export and I haven't experienced this problem before. Anyone have this problem before? Thanks.
Avid DX Nitris 5.5, HP xw8600 CPU dual Xeon x5450 3Ghz, Nvidia Quadro FX3700, Win7 64bit, 16GB RAM, CalDigit HDOne 8TB Raid External Hard Drive
I am aware that there are seemingly dozens of posts on this but after all of the googling nothing seems to work.
What I have is a background video track on V1. Nothing on V2. A lower third paint effect background on V3. And a text layer with the lower third name on in V4.
What I want to be able to do is group the text and text background layers together and slowly expand them, without affecting the background layer on V1.
For all of the 'stepping in', 'collapsing' and everything else I'm reading about nothing seems to work.
Is there a way for this to be achieved?
Thanks
Hi all,
I have problems whit this...
"Avid Media Composer 8.8.5"
"Exception: Legend Audio Communications error, Hardware Underrun, reason:kLUKAerr_Underrrun
We have Isis, with interplay and Composer 8.8.5
Dear All,
This is not so much a media composer issue as a plugin issue. The issue is occuring at a customer of mine who is using MC 8.6.5.
When applying a Dyn3 limiter compressor on 2 duplicated audio channels, A1 and A2 (where A2 is the duplicate of A1) and monitoring the phase relationship in izotope when A1 is panned left and A2 is panned right it is obvious the phase relationship between the 2 channels is completely gone crazy. If the channels are panned back to mid (mono) this results in a phasing effect where most of the time the high frequencies are cut off.
The workaround is easy. (Why would one duplicate the mono audio in the first place if the audio sync is further untouched. answer: I like working dual mono as I get 6db extra for free when mixing with music... No don't ask 
)
But now comes the weird part. Moving the tracks to A3 and A4 can fix the issue. That a compressor plugin is not phase linear with itself I consider a bug but ok, if the bug is consistent throughout its use... but no. It depends on the length of the clip, position in the timeline and/or sequence tracks it is applied to. That makes very little sense to me,
Has anybody else seen this behavior of the Dyn3 limiter compressor plugin?
Thanks.
I'm wondering if one of the moderators can help me out. I've tried to access the support portal from the My Account portion of this website. Several weeks ago I put in a request for access on the site. I'm still left with: Your request to support portal is under process. Any chance someone can look into this for me and grant me access? I have a valid support contract.
Best,
Ronit
hello
does system performance (better cpu - gpu - hdd , ... ) affect the video output and video file quality ?
in other words , does system with higher and better specs increase the video quality or its just about the render time decrease ?
for example if we render a project on an avid professional hardware using avid media composer and render the same project on a regular system with same software , do we get same result ? (ofc if the both be able to render the project ) or the quality is better on the better system ?
thanks for help .
Hi all,
We are using Sony F55 XAVC footage transcoded to DNX36 with an SLog2 to 709 LUT applied in the source settings. The clips were transcoded without the colour transformation box ticked so the LUT is not baked in to the media. We are running 8.9.1 on Z440s.
After grouping these clips we have noticed that the LUT appears to be doubling up on some of the grouped clips so that the resulting image is very saturated and contrasty. If we remove the LUT on the master clips then the group clip still looks like it has a LUT applied but it isn't doubled up. So it seems the group clip is adding another layer of the LUT on top of the master clip's source settings.
I know one solution to this would be to re-transcode with the colour transformation applied but production do not really want to commit to a specific LUT in the offline and we do not really want to have to re-transcode and re-group everything!
Anyone else encountered this at all?
folks,
recently upgraded for media composer 7 - 8.91.
The pc in question is networked and uses editshare connect.
I can connect to the network drives within edit share.. Project drive, rushes drive etc.
when avid has launched it gets to the select project option, when i then select P in avid (for projects)
(i dont want to edit on the local machine it fires up the following error message)
Exception: Structured Exception, ExceptionCode: 3221225477, ExceptionString: ACCESS_Violation, FaultAddress:0x000000007712f2a2, MiniDumpFilename:98391f85-f85-f2c-45b9-9011-f10b6e8276f6.dmp
and dumps me back to windows
do good folks have any ideas what could be causing this.
I have yet to try just editing on the local machine c: drive just to see if it will go into avid fully.
out of 18 machines this is the only one to be doing it.. the rest seem fine
cheers
Graeme.
Hello!
Our small facility (5 suites) has only a single Nexis formatted to 16TB. We have therefore been using the SD 10:1 codec for offline editing. It looks horrible but last time I looked it was the best for space and speed of transcode.
I just noticed the XDcam 17.5mb codec. Not sure where it came from! Perhaps a codec family install at some point.
Does anyone have experience of using this codec for offline for large projects? Potentially using multicam? Initial tests show that it works ok, but there are tests and then there is real-world use on a big job!
Thanks
AMA'ing 4k MP4 footage at 23.98 into 1920x1080. Using AVC Long-GOP, its really hit or miss as to when files will succesfully transcode (doesnt matter the DNX type - i've tried a bunch). If I go into the source browswer and change the plugin option to H264 - I have no problems at all (although it takes more than twice as long to transcode). The other problem with this option is that I dont like the Source Browswer and ALT drag my files directly to a bin, which forces the AVC Long-GOP plug in to be used.
The error that arises is 'AMA Plug-In Unable to Provide Compressed Sample'.
This is an off and on problem I've had for the past few versions that happens to some MP4 clips but not to all of them from a shoot.
I've also tried choosing a different storage drive, and importing at 4k resolution. This has happened for shots at 29.97 inside a 23.98 project as well.
Has any noticed that when you create a marker in 8.9.3 the window isn't activated? You have to actually click in it to make the cursor show up so you can begin typing?
I tried creating new settings and it's still doing it.
Working with motion graphics in After Effects and normally export out QuickTime RGB+Alpha, DNxHR/DNxHD and import into Avid as a Alpha Channel Invert on import white = opaque.
Lately on 8.9.2 the QT imports are breaking up, so I switch over to AVI export from AE which are just as clean and work fine when importing. Still curious as to why QT is giving me trouble?
When I try to consolidate or transcode a AMA linked clip with "run in background" checked my Avid does nothing. There is no error message and everything is green. The Background Queue says "running" and "processing" but nothing happens. No progress at all.
Is this a bug in this version? Or am I missing a setting? Previous versions worked well.
I have a project where I'm trying to mimick the retro look of 1970's TV shows like the original Hawaii 50 and Mannix. These shows were shot on 35mm film, so I know it's never going to be a perfect match. One thing that stands out is the skin tones seem to be much darker and more saturated on those old shows compared to shows shot digitally today.
Starting with log footage (SLog 3 from a Sony FS7), I tried darkening the midtones, shifting the gamma midpoint down and increasing saturation, but I can't quite get the look. Looking for suggestions on how to approximate this look using Symphony's CC tools.
Thanks.