Wednesday, February 13, 2013

Re: [Avid-L2] FR: Four for the day (was three, but then I had another idea)

Agreed on all points. No scopes? Painful.

Point 3 - if you're talking about live capturing into Avid, if you know how
much time you want, you can set the Limit Record Time in minutes in the
Capture settings. I do this all the time. 120 there will kick the capture
out when it hits the 2-hour mark.

Point 4 - when I've had to do this, I make a sequence, set its start
timecode at the timecode I want that moment in the clip to be. Set an in on
the source clip and edit the clip into the start of the sequence. Then 'add
filler at start' to the sequence a bunch of times so you can extend the
head of the clip back as far as it will go. Now you have your actual clip
start timecode.

Workarounds!


On Wed, Feb 13, 2013 at 6:59 PM, Steve Hullfish <steve4lists@veralith.com>wrote:

> **
>
>
> PLEASE PLEASE PLEASE. I was stuck in a professional suite in a major
> market broadcast TV station (that shall go nameless, but rhymes with SOX)
> and there are NO waveform monitors in the rooms. So I have to use the GOD
> AWFUL AVID INTERNAL SCOPES. Please, however much you have to drop the
> resolution of the waveform, when I am PARKED on a STILL, there is no reason
> that the waveform can't actually UPDATE LIVE.
>
> Number two: I brought in a two hour show, subclipped about 20 things out
> of it and named the subclips with the description of the shot. Then,
> because we didn't want the two hour shows kept on-line, I consolidated all
> of the subclips. When you do this, the consolidated subclips lose the new
> names of the subclips that you have just created. Obviously, I could simply
> have a column in which I put the description instead of renaming the clip,
> but WHY can't the consolidated subclip save the name of the subclip instead
> of reverting to the name of the master clip with a numeric suffix? What a
> pain. Copy/paste 20 times and I'm all set, but why?
>
> Number three: When you go in to freerun record mode (crash record) with no
> timecode control, you can't type an outpoint time. This is probably harder
> than it sounds because of the way Avid sniffs timecode instead of actually
> reading it, but the time of day is zipping by there in the Capture Tool...
> You can see "timecode" in the window. If I'm rolling on a two hour record,
> it would be great if I could tell the Avid to STOP RECORDING in two hours
> and two minutes. You can do this if you have control of a deck, but not if
> you're in "freerun." I don't care if it's not even "real timecode." I just
> don't want to forget that I'm supposed to come back in two hours to hit the
> stop button.
>
> Number four: I know that it's possible to change the timecode of a clip...
> a billion warnings go by, but you can do it... but I'd love to be able to
> select a spot in the middle of clip and leave the timeline locator there,
> (or use a locator or an in point,) and tell the Avid what the timecode
> SHOULD be at that exact point, instead of what it is at the beginning of
> the clip. You can obviously do this if you have a timecode calculator and a
> degree from MIT, but it's a COMPUTER, let the Avid do the math. If I wanted
> to do the math I'd make more money doing something other than editing. We
> roll on a live show delayed by a few minutes or even a few hours off a
> server. There's no timecode coming from the server or control (again, this
> is an actual broadcast TV station in a major market). But I want to get the
> timecode on the show clip to match time of day of the actual time of
> broadcast, so that the producer's "time of day" notes on soundbites match
> the clip in the Avid. I have a workaround already. What I need is something
> simple and integrated.
>
> Steve Hullfish
> contributor: www.provideocoalition.com
> author: "The Art and Technique of Digital Color Correction"
>
>


[Non-text portions of this message have been removed]



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