Saturday, July 20, 2013

[Avid-L2] OT: Only in Hollywood or it could be anywhere in the world

 

So in the midst of all the multicamera Red fun I've been having this week they are out shooting another multicam Red show tonight.  At 9:30 PM I get a panic call on my cell and it's the folks on the stage and they are having a serious lighting issue that only cropped up at the beginning of the show.  They wanted my opinion if it could be fixed in post.  I conservatively said it sounds like VFX job to remove a shadow being cast on a stage backdrop and that it might be tedious but VFX folks can work magic.  The concern was whether  they needed to relight before shooting the second show.  As I'm not a VFX artist I wasn't entirely comfortable giving advice so I decided to call a friend who is a VFX supervisor for features and commercials etc...  While waiting to hear back from him I was sent a .mov from the set of the video village with all the monitors so I could see the shadow issue.  I forwarded this to my VFX friend after he called back and when
he got home to look at the clip he called and told me it was a very fixable problem and if they couldn't relight all was not lost.  I passed the information on to the production folks on set and now they can rest a little easier and I advised them to make sure to shoot slightly wider lock off shots of the clean stage without the performer there to give the VFX folks possible clean plates to work with.  It was nice to be able to help share information and get it from a few cell phones and internet connections.  These are really fast moving exciting times.  This is the first time I think I've been able to save it in post even before it's gotten to post. 

What's next?  Perhaps some remote controlled cameras at the venue with the director and camera operator(s) working from home all tied together on the Interwebs. 

 
John Moore
Barking Trout Productions
Studio City, CA
bigfish@pacbell.net

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[Avid-L2] Has anyone had to on-line from an FCP-X project? I'm assuming people have done Premiere...

 

Any workflows for getting an FCP-X off-line into Avid? What about Premiere? Has anyone seen any white papers on either of these?

Steve

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Re: [Avid-L2] Stuff I wish they'd fix

That's actually the way I've done it in the past. Create a new project for the on-line and open up ONLY the single bin with the final sequence in it. I have been writing a new Avid book and have interviewed a lot of off-line and on-line editors from top TV primetime TV shows and feature films and this is their methodology as well. Don't deal with the offline project at all - only a single bin with the final sequence.

Steve

On Jul 20, 2013, at 10:14 PM, johnrobmoore <bigfish@pacbell.net> wrote:

> This is one of the reasons I just take bins from offline and put them into my online project that I create. This way if I want site settings to be consistent they will be. I usually check all the media creations settings anyways because traditionally Avid has had a habit of forgetting where they were set and changing them when you reopen the problem. Perhaps that has finally been fixed but since I bounce around on different versions it's one of the things I just check automatically when I open a project.
>
> --- In Avid-L2@yahoogroups.com, Steve Hullfish <steve4lists@...> wrote:
> >
> > I don't understand any of the issues with Project versus Site settings. Any Project setting can be set by the user to be a Site setting, so the only person you have to blame for a lack of site settings is yourself.Or are you saying (because I don't have to deal with this) that because the project was originally created using a specific Media Creation setting, that it can't be overridden by your Site Setting? Otherwise, I have Media Creation settings as Site settings. I have audio settings as Site Settings. I have many "Project" and "User" settings set as Site settings, but I don't know if they override someone else's settings coming in... Most of my on-line for the last 10 years has come from my own off-line, or it's on projects where I'm so set in my ways, I guess that I figure "of course I'll have to set that as a setting."
> >
> > Steve
> >
> > On Jul 20, 2013, at 3:15 AM, Pat Horridge <pat@...> wrote:
> >
> > > Let me ask what percentage of MC owners have a Red Rocket card? More than 0.1 % ? I suspect not.
> > > So Avid are default catering for that?
> > > And surely you'd expect Avid to detect the Red card and set the de-beyer setting to full.
> > > And having media creation in site settings doesn't help as its not a site setting its a project setting so would only affect new projects.
> > > Another never fixed is media creation being a project setting rather than a site setting.
> > > On my online suite I have to set the media creation for each project that comes in from offline yet I never need to work at dnx36.
> >
> >
> > [Non-text portions of this message have been removed]
> >
>
>



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



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Re: [Avid-L2] Re: Stuff I wish they'd fix

 

Scopes are like 600 bucks why anyone would not have an ultrascope is beyond me.

Mike

On 21 Jul, 2013, at 5:46 AM, Benjamin Hershleder <Ben@ContactBen.com> wrote:

>
>
> Terry, wouldn't it be advantageous to be able to "tag" shots in such a way so that you could control which shots are CC-Linked together, beyond just being associated by Source? Or is there a way to use Clip Name to do that?
>
> What I'm imagining is that the User would use the Segment Tool to select multiple shots in the Sequence, press a "Tag" button. A window would open and then we'd assign a user-definable tag-term to them. The same tag-term could be added at any time (from a tag list window) to other shots (if one was missed, let's say), or could be removed (so it could be tweaked individually without breaking *all* CC links).
>
> While we're at it:
> All the scopes should be floatable and dockable (in or out of CC Mode). I'd like to have the scopes on the left computer monitor, while the CC 3-Up Display would then be available for Prev, Cur, and Next.
>
> Cheers,
>
> B
> ----
> Benjamin Hershleder
> Book: http://tinyurl.com/avidmc-book
> Site: http://ContactBen.com
>
> On Jul 20, 2013, at 2:50 PM, Terence Curren wrote:
>
> > Bingo. It's a major timesaver.
> >
> > As is being in the NLE when you are color correcting and you find you need to adjust an edit, fix an effect, tweak audio, fix a title, etc.
> >
> > --- In Avid-L2@yahoogroups.com, Bogdan Grigorescu <bogdan_grigorescu@...> wrote:
> > >
> > > Terry is addicted :o) to the source side color correction which is currently unavailable in Resolve...
> > >
> > > cheers,
> > > BG
> > > www.finale.tv
> > >
> > >
> > >
> > > ________________________________
> > > From: "owen@..." <owen@...>
> > > To: "Avid-L2@yahoogroups.com" <Avid-L2@yahoogroups.com>
> > > Cc: "Avid-L2@yahoogroups.com" <Avid-L2@yahoogroups.com>
> > > Sent: Saturday, July 20, 2013 10:30 AM
> > > Subject: Re: [Avid-L2] Re: Stuff I wish they'd fix
> > >
> > >
> > >
> > > Â
> > > but why pay 5k for resolve-like symphony when u can get resolve lite for free or 1k for full ver?
> > >
> > > Owen's iphone
> > >
> > > On Jul 20, 2013, at 12:13 PM, "Terence Curren" <tcurren@...> wrote:
> > >
> > > > And I'd gladly pay 5K for Symphony with a Resolve level color corrector using the source side correction in it.
> > > >
> > > > --- In Avid-L2@yahoogroups.com, "Job ter Burg (L2B)" <Job_L2@> wrote:
> > > >
> > > > "I'd glady pay 5K for MC if they finally fixed and finished many of the features on my list. 999USD for a new MC license is great, but it does not raise more funds for R&D, I reckon."
> > > >
> > > >
> > >
> >
>
> [Non-text portions of this message have been removed]
>
>

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

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Re: [Avid-L2] Re: Stuff I wish they'd fix

 

Course davinci 10 edits...

On 21 Jul, 2013, at 4:50 AM, "Terence Curren" <tcurren@aol.com> wrote:

> Bingo. It's a major timesaver.
>
> As is being in the NLE when you are color correcting and you find you need to adjust an edit, fix an effect, tweak audio, fix a title, etc.
>
> --- In Avid-L2@yahoogroups.com, Bogdan Grigorescu <bogdan_grigorescu@...> wrote:
> >
> > Terry is addicted :o) to the source side color correction which is currently unavailable in Resolve...
> >
> > cheers,
> > BG
> > www.finale.tv
> >
> >
> >
> > ________________________________
> > From: "owen@..." <owen@...>
> > To: "Avid-L2@yahoogroups.com" <Avid-L2@yahoogroups.com>
> > Cc: "Avid-L2@yahoogroups.com" <Avid-L2@yahoogroups.com>
> > Sent: Saturday, July 20, 2013 10:30 AM
> > Subject: Re: [Avid-L2] Re: Stuff I wish they'd fix
> >
> >
> >
> >
> > but why pay 5k for resolve-like symphony when u can get resolve lite for free or 1k for full ver?
> >
> > Owen's iphone
> >
> > On Jul 20, 2013, at 12:13 PM, "Terence Curren" <tcurren@...> wrote:
> >
> > > And I'd gladly pay 5K for Symphony with a Resolve level color corrector using the source side correction in it.
> > >
> > > --- In Avid-L2@yahoogroups.com, "Job ter Burg (L2B)" <Job_L2@> wrote:
> > >
> > > "I'd glady pay 5K for MC if they finally fixed and finished many of the features on my list. 999USD for a new MC license is great, but it does not raise more funds for R&D, I reckon."
> > >
> > >
> >
> > [Non-text portions of this message have been removed]
> >
> >
> >
> >
> > [Non-text portions of this message have been removed]
> >
>
>

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

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[Avid-L2] Re: Stuff I wish they'd fix

 

I use clip names with suffixes to customize the color correction links for relational color correction. The problem with File based the clip naming conventions are too random for the addition of a suffix to work. Think of a traditional tape reel number name that populates the bin with the bin name, which is usually the tape name followed by .01, .02 etc... In online it's relatively easy to take the decompose bin and sort by tape and start time and scroll through in script mode and add the necessary suffixes before the .new 01, .new02 etc... to facilitate grouping certain shots with the same color correction need together. This falls apart in file based because of the less consistent naming conventions of the ama'd or imported clips. I hope for something like you have suggested but I'd just like to have the ability to base relational color correction on a comment field or some such thing that I could fill in with whatever I wanted to identify the shots color correction needs. Ideally there would be a clip name like file based metadata that incremented more like a tape based clip name did. Perhaps Folder name or Card name or Disk ID come to mind. I haven't been working on enough big scale file based show to know what would be the best choice but something like that seems easily doable.

--- In Avid-L2@yahoogroups.com, Benjamin Hershleder <Ben@...> wrote:
>
>
>
> Terry, wouldn't it be advantageous to be able to "tag" shots in such a way so that you could control which shots are CC-Linked together, beyond just being associated by Source? Or is there a way to use Clip Name to do that?
>
> What I'm imagining is that the User would use the Segment Tool to select multiple shots in the Sequence, press a "Tag" button. A window would open and then we'd assign a user-definable tag-term to them. The same tag-term could be added at any time (from a tag list window) to other shots (if one was missed, let's say), or could be removed (so it could be tweaked individually without breaking *all* CC links).
>
> While we're at it:
> All the scopes should be floatable and dockable (in or out of CC Mode). I'd like to have the scopes on the left computer monitor, while the CC 3-Up Display would then be available for Prev, Cur, and Next.
>
> Cheers,
>
> B
> ----
> Benjamin Hershleder
> Book: http://tinyurl.com/avidmc-book
> Site: http://ContactBen.com
>
>
> On Jul 20, 2013, at 2:50 PM, Terence Curren wrote:
>
> > Bingo. It's a major timesaver.
> >
> > As is being in the NLE when you are color correcting and you find you need to adjust an edit, fix an effect, tweak audio, fix a title, etc.
> >
> > --- In Avid-L2@yahoogroups.com, Bogdan Grigorescu <bogdan_grigorescu@> wrote:
> > >
> > > Terry is addicted :o) to the source side color correction which is currently unavailable in Resolve...
> > >
> > > cheers,
> > > BG
> > > www.finale.tv
> > >
> > >
> > >
> > > ________________________________
> > > From: "owen@" <owen@>
> > > To: "Avid-L2@yahoogroups.com" <Avid-L2@yahoogroups.com>
> > > Cc: "Avid-L2@yahoogroups.com" <Avid-L2@yahoogroups.com>
> > > Sent: Saturday, July 20, 2013 10:30 AM
> > > Subject: Re: [Avid-L2] Re: Stuff I wish they'd fix
> > >
> > >
> > >
> > > Â
> > > but why pay 5k for resolve-like symphony when u can get resolve lite for free or 1k for full ver?
> > >
> > > Owen's iphone
> > >
> > > On Jul 20, 2013, at 12:13 PM, "Terence Curren" <tcurren@> wrote:
> > >
> > > > And I'd gladly pay 5K for Symphony with a Resolve level color corrector using the source side correction in it.
> > > >
> > > > --- In Avid-L2@yahoogroups.com, "Job ter Burg (L2B)" <Job_L2@> wrote:
> > > >
> > > > "I'd glady pay 5K for MC if they finally fixed and finished many of the features on my list. 999USD for a new MC license is great, but it does not raise more funds for R&D, I reckon."
> > > >
> > > >
> > >
> >
>
>
>
>
>
>
>
> [Non-text portions of this message have been removed]
>

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[Avid-L2] Re: Dynamic Media Folders

 

Well how was the problem solved? Inquiring minds who haven't upgraded yet want to know what the issue is and how it was resolved. And I'm not talking about Round Tripping to Davinci!! ;-)

--- In Avid-L2@yahoogroups.com, "oliverpetersvidy" <oliverpeters@...> wrote:
>
> Problem solved.
>
> - Oliver
>

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[Avid-L2] Re: Stuff I wish they'd fix

 

Actually there are some forms of source side color correction like features in Resolve. When I discovered the 1 frame skip problem last week in our Avid aaf to Resolve the actual source clips in the media pool were not skipping. The AE found the double clicking the clips in the timeline automatically loaded the clip in the source monitor with ins and outs, although the clips were 1 frame long it was easy to drag them to a track above the original V1 and trim off the extra frame. Once the clips were laid into V2 the clip automatically took on the color correction of the matching clip on V1. From what I've read this translates to all timelines in the project and there is a way to break the link if need be but I haven't gotten that far. I love the symphony relational color correction and I adopted techniques to exploit it but Resolve has some of these capabilities and the master timeline offers another time saving approach to get a fast basic grade. Still I'd like to just have this all in the Avid software because nothing beats one stop shopping for my reality, documentary work and really any work that I've done. File based has broken some of my tricks for naming clips according to color correction but hopefully in the future we will be able to base relational color correction on File based metadata that is similar to the traditional tape based clips named after the reel with a suffix starting at .01 and incrementing each subsequent clip from the same reel. There should be an easy way to do this in a file based workflow it's just a matter of finding out what part of the file metadata that could behave like the tape clip names did. Perhaps Disk ID plus a suffix. As I work more with file based stuff I'm hoping the patterns of metadata will become clearer to me.

--- In Avid-L2@yahoogroups.com, Bogdan Grigorescu <bogdan_grigorescu@...> wrote:
>
> Terry is addicted :o) to the source side color correction which is currently unavailable in Resolve...
>
> cheers,
> BG
> www.finale.tv
>
>
>
> ________________________________
> From: "owen@..." <owen@...>
> To: "Avid-L2@yahoogroups.com" <Avid-L2@yahoogroups.com>
> Cc: "Avid-L2@yahoogroups.com" <Avid-L2@yahoogroups.com>
> Sent: Saturday, July 20, 2013 10:30 AM
> Subject: Re: [Avid-L2] Re: Stuff I wish they'd fix
>
>
>
>  
> but why pay 5k for resolve-like symphony when u can get resolve lite for free or 1k for full ver?
>
> Owen's iphone
>
> On Jul 20, 2013, at 12:13 PM, "Terence Curren" <tcurren@...> wrote:
>
> > And I'd gladly pay 5K for Symphony with a Resolve level color corrector using the source side correction in it.
> >
> > --- In Avid-L2@yahoogroups.com, "Job ter Burg (L2B)" <Job_L2@> wrote:
> >
> > "I'd glady pay 5K for MC if they finally fixed and finished many of the features on my list. 999USD for a new MC license is great, but it does not raise more funds for R&D, I reckon."
> >
> >
>
> [Non-text portions of this message have been removed]
>
>
>
>
> [Non-text portions of this message have been removed]
>

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[Avid-L2] Re: Stuff I wish they'd fix

 

I'd pay 5K just to avoid having to ever F with round tripping Avid to Resolve but at this point it's become personal and I'm like a pit bull and won't release. Of course just like any fighting dog I've got scars and eventually I hope I have the sense to just let it go. By then somebody will come up with a new codec just to F me one more time.

--- In Avid-L2@yahoogroups.com, "Terence Curren" <tcurren@...> wrote:
>
> And I'd gladly pay 5K for Symphony with a Resolve level color corrector using the source side correction in it.
>
> --- In Avid-L2@yahoogroups.com, "Job ter Burg (L2B)" <Job_L2@> wrote:
>
> "I'd glady pay 5K for MC if they finally fixed and finished many of the features on my list. 999USD for a new MC license is great, but it does not raise more funds for R&D, I reckon."
>

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[Avid-L2] Re: Stuff I wish they'd fix

 

This is one of the reasons I just take bins from offline and put them into my online project that I create. This way if I want site settings to be consistent they will be. I usually check all the media creations settings anyways because traditionally Avid has had a habit of forgetting where they were set and changing them when you reopen the problem. Perhaps that has finally been fixed but since I bounce around on different versions it's one of the things I just check automatically when I open a project.

--- In Avid-L2@yahoogroups.com, Steve Hullfish <steve4lists@...> wrote:
>
> I don't understand any of the issues with Project versus Site settings. Any Project setting can be set by the user to be a Site setting, so the only person you have to blame for a lack of site settings is yourself.Or are you saying (because I don't have to deal with this) that because the project was originally created using a specific Media Creation setting, that it can't be overridden by your Site Setting? Otherwise, I have Media Creation settings as Site settings. I have audio settings as Site Settings. I have many "Project" and "User" settings set as Site settings, but I don't know if they override someone else's settings coming in... Most of my on-line for the last 10 years has come from my own off-line, or it's on projects where I'm so set in my ways, I guess that I figure "of course I'll have to set that as a setting."
>
> Steve
>
> On Jul 20, 2013, at 3:15 AM, Pat Horridge <pat@...> wrote:
>
> > Let me ask what percentage of MC owners have a Red Rocket card? More than 0.1 % ? I suspect not.
> > So Avid are default catering for that?
> > And surely you'd expect Avid to detect the Red card and set the de-beyer setting to full.
> > And having media creation in site settings doesn't help as its not a site setting its a project setting so would only affect new projects.
> > Another never fixed is media creation being a project setting rather than a site setting.
> > On my online suite I have to set the media creation for each project that comes in from offline yet I never need to work at dnx36.
>
>
> [Non-text portions of this message have been removed]
>

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Re: [Avid-L2] Hardware Underrun -- What Is This?

 

You got Mojo via Express Card native or via TB?

On 7/20/2013 10:18 PM, David Dodson wrote:
> I keep getting this sudden pop of noise during playback, and then the following error message:
>
> Exception: Legend Audio Communications error, Hardware Underrun
>
> I'm on MC7, Macbook Pro, OS X (10.8.4), 2.3 GHz Intel Core i7. The Avid Mediafiles are on a Promise Pegasus R4 connected via Thunderbolt. I've got a Mojo connected through the Avid PCIe laptop adaptor. Media is all transcoded to DNxHD 115, and the sequences are simple, generally a single video track, everything rendered, and just a few audio channels, so it's not like I'm taxing the system.
>
> Anyone else seeing this, and have any idea what the remedy may be?
>
> Thanks,
>
> David
>
>
> David Dodson
> davidadodson@sbcglobal.net
>
>
>
>
>
> ------------------------------------
>
> Search the official Complete Avid-L archives at: http://archives.bengrosser.com/avid/
> Yahoo! Groups Links
>
>
>
>

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[Avid-L2] Hardware Underrun -- What Is This?

 


I keep getting this sudden pop of noise during playback, and then the following error message:

Exception: Legend Audio Communications error, Hardware Underrun

I'm on MC7, Macbook Pro, OS X (10.8.4), 2.3 GHz Intel Core i7. The Avid Mediafiles are on a Promise Pegasus R4 connected via Thunderbolt. I've got a Mojo connected through the Avid PCIe laptop adaptor. Media is all transcoded to DNxHD 115, and the sequences are simple, generally a single video track, everything rendered, and just a few audio channels, so it's not like I'm taxing the system.

Anyone else seeing this, and have any idea what the remedy may be?

Thanks,

David

David Dodson
davidadodson@sbcglobal.net

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Re: [Avid-L2] Re: Stuff I wish they'd fix

 

I'm not Terry but I'll toss in my 2 cents worth anyway.

Tagging clips might be an option in some kinds of work. In a lot of the
shows I CC, it would take a long time. Lately, I'm finishing a lot of
stuff that was shot on XDCam. The most common clip name I get is C0001.
C0002 is the next most common... That makes CC'ing by clip name a little
dangerous. I'd really like to be able to create logical arguments like
"clip name = C0002 AND Source Disk = xxx". I'd also love to have the
bucket buttons turn into thumbnails of the frame I was parked on when I
saved them. --J.B.

Original email:
-----------------
From: Benjamin Hershleder Ben@ContactBen.com
Date: Sat, 20 Jul 2013 15:46:37 -0700
To: Avid-L2@yahoogroups.com
Subject: Re: [Avid-L2] Re: Stuff I wish they'd fix

Terry, wouldn't it be advantageous to be able to "tag" shots in such a way
so that you could control which shots are CC-Linked together, beyond just
being associated by Source? Or is there a way to use Clip Name to do that?

What I'm imagining is that the User would use the Segment Tool to select
multiple shots in the Sequence, press a "Tag" button. A window would open
and then we'd assign a user-definable tag-term to them. The same tag-term
could be added at any time (from a tag list window) to other shots (if one
was missed, let's say), or could be removed (so it could be tweaked
individually without breaking *all* CC links).

----------------------------------------------------------
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