All excellent points, Steve. And the "degree from MIT" remark in point #4 gave me a well needed laugh!
Shirley
-----Original Message-----
From: Steve Hullfish steve4lists@veralith.com>
To: Avid-L2 Avid-L2@yahoogroups.com>
Sent: Wed, Feb 13, 2013 6:44 pm
Subject: [Avid-L2] FR: Four for the day (was three, but then I had another idea)
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"
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