Saturday, October 19, 2013

[Avid-L2] Re: File Base Deliveries now mixed frame rate motion adapters and quirks

 

The clipss field motion is interlace. I should check the clips in the 59.94 project they were captured in to see if they are truely interlaced or if they have 2:3 pull down. Good suggestion yhat would eliminate the 125 persent motion adapter.
--- In Avid-L2@yahoogroups.com, Mark Spano <cutandcover@...> wrote:
>
> Your default motion adapter behavior would be happier if it was specified
> in the Field Motion column of the bin for each clip to be "Film with 2:3
> Pulldown". Then, dropping those clips into a 23.98 sequence would
> automatically remove the pulldown (source Film with 2:3 Pulldown, output
> Progressive, etc.). You can see why I advise always set the Field Motion on
> your clips…
>
>
> On Fri, Oct 18, 2013 at 10:18 PM, johnrobmoore <bigfish@...> wrote:
>
> > **
> >
> >
> > As fate would have it today's video Sojourn was interlace material cut
> > into a ntsc 24 frame offline and now dealing with it in the online project.
> > Apparently they took HDV material and captured via an HVR 1500 deck into a
> > 59.94 project. Now when they open the offline sequence in the online
> > project it automatically modifies the sequence and now the clips that were
> > captured in the separate 59.94 project, so I'm told as I wasn't there to
> > witness this, seem to be modified to be 23.98 clips. This seem like the
> > typical behavior I would expect for tapes of telecine transfers but in our
> > case it is a pain in the arse. Now we want to decompose and capture the
> > clips in the 59.94 project at HD resolution.
> >
> > I'm coming in on the tale end of this project but can someone confirm that
> > if the offline sequence wasn't modified to HD 23.98 that the clips from the
> > HDV tape would remain as 29.97/59.94 clips and they could be recaptured? As
> > it is they have to ball park the time code and eye match the clips but I'm
> > thinking there might be a more elegant way to approach this in the future.
> > I find AEs are kind of trigger happy to just recapture and overcut after
> > all the issues that tend to crop up in these convoluted workflows involving
> > mixed Frame Rate timelines.
> >
> > Also to follow up on the motion adapter discussion what I have found in
> > this project when they over cut this 59.94 HDV footage into the 23.98
> > timeline the default motion adapter is set to interlaced source and
> > progressive output and the mode is blended interpolated. I've found that
> > leads to blurry split frames and it seems that switching to interpolated
> > field eliminates the blurred frames. I can do this without having to
> > promote the motion adapters. Fun stuff
> >
> > I also found that these clips had been slo mo'd in the offline at 50% so I
> > had to take the motion adapter that was automatically set to 125% and halve
> > it to 62.5% to achieve a similar motion. Man this stuff just get more and
> > more layered even with a simple motion effect.
> >
> > --- In Avid-L2@yahoogroups.com, Mark Spano <cutandcover@> wrote:
> > >
> > > OK People, from someone who does this practically every day, please can
> > the
> > > misleading information. Avid MC Motion Adapters function with a very
> > > specific set of defaults, and once you learn what these are and how they
> > > are triggered, they function without fail and flawlessly for you. The
> > > default motion adapter for 23.98 material in a 29.97i project is standard
> > > 2:3 pulldown (both fields, source progressive, output interlaced)
> > PROVIDED
> > > THAT your clip has "Progressive" set in the Field Motion column in the
> > bin.
> > > That said, since this is what you want almost always when doing this
> > frame
> > > rate conversion, you MUST WITHOUT EXCEPTION set any "Unknown" or
> > > "Interlaced" Field Motion column setting for any 23.98 clips to
> > > "Progressive" in order to get what you want. Since so many of 23.98 clips
> > > are incorrectly GUESSED by Avid's interpreter to be "Unknown", when left
> > > alone, these clips will have incorrect motion adapters applied (source
> > > interlaced (?!) output interlaced, blended interpolated).
> > >
> > > So, like I said, do one video mixdown of your 23.98 sequence in the 23.98
> > > project. A video mixdown in a 23.98 project will ALWAYS result in that
> > > video mixdown clip to have "Progressive" stamped in its Field Motion
> > > attribute in the bin. Then, you can take that clip into the 29.97i
> > project
> > > and have Avid automatically apply the proper motion adapter for 2:3
> > > pulldown. Mix that down again to bake in the pulldown and create a native
> > > 29.97i clip.
> > >
> > > There is no other in-the-box method in Avid MC that will guarantee the
> > > proper result. And good lord I see the shoddy handling of 23.98 material
> > > all over projects from other editors and all over television. Field
> > Motion
> > > should be in every one of your custom bin views if you're even thinking
> > > about using mixed frame rates in your 29.97i projects.
> > >
> > >
> > > On Tue, Oct 15, 2013 at 9:21 PM, johnrobmoore <bigfish@> wrote:
> > >
> > > > **
> > > >
> > > >
> > > > I've never seen the default motion adapters in mixed rate material be
> > > > fluid motion. Perhaps I've never looked closely. IIRC the only way to
> > look
> > > > at what the automatic motion adapters are doing is to promote the
> > motion
> > > > effect and look at the settings in the box. From your post it sounds
> > like
> > > > they are coming up in fluid motion but that is not what I've
> > experienced in
> > > > the past. Has something changed about this behavior or is it tied to
> > the
> > > > motion effect render preferences? I would think fluid motion, as
> > powerful
> > > > as it is sometimes, would be a bad default given the chance for
> > artifacts
> > > > when all you want it 2:3 pulldown added. I'm surprised that would have
> > to
> > > > be manually changed.
> > > >
> > > >
> > > > --- In Avid-L2@yahoogroups.com, Agustin Goya <agustingoya@> wrote:
> > > > >
> > > > > And If I`m not mistaken, if you render it as interlaced (instead of
> > > > > default fluid motion) you will end with a prefect 3:2 pulldown.
> > > > >
> > > > >
> > > > > Agustin Goya
> > > > > WANCAMP | POST
> > > > > +54-11-6545-2427
> > > > > http://www.wancamp.com.ar/
> > > > > http://www.linkedin.com/in/agustingoya/
> > > > >
> > > > >
> > > > > On Tue, Oct 15, 2013 at 4:26 PM, Dom Q. Silverio <domqsilverio@
> > > > ...>wrote:
> > > > >
> > > > > > **
> > > >
> > > > > >
> > > > > >
> > > > > > You can open your sequence in a 59.94 project, mixdown and then
> > export.
> > > > > > The motion effect will be baked during the mixdown process.
> > > > > >
> > > > > > Dom Q. Silverio
> > > > > >
> > > > > >
> > > > > > On Tue, Oct 15, 2013 at 3:23 PM, <pepe.serventi@> wrote:
> > > > > >
> > > > > >>
> > > > > >>
> > > > > >> II was wondering how people are doing file based delivery to the
> > > > > >> networks. I'm using XDCAM MXF OP1a out of the Avid. This has been
> > > > working
> > > > > >> fine, but now I have a show that's 23.98 and have to deliver
> > 59.94.
> > > > The
> > > > > >> only work around I can see is to do a cross convert out of the
> > > > symphony to
> > > > > >> HDCAM SR, then ingest that back into the Avid. Was wondering if
> > there
> > > > was
> > > > > >> another way.
> > > > > >>
> > > > > >>
> > > > > >>
> > > > > >>
> > > > > >
> > > > > >
> > > > >
> > > >
> > > >
> > > >
> > >
> >
> >
> >
>

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Friday, October 18, 2013

Re: [Avid-L2] Re: File Base Deliveries now mixed frame rate motion adapters and quirks

 

Your default motion adapter behavior would be happier if it was specified in the Field Motion column of the bin for each clip to be "Film with 2:3 Pulldown". Then, dropping those clips into a 23.98 sequence would automatically remove the pulldown (source Film with 2:3 Pulldown, output Progressive, etc.). You can see why I advise always set the Field Motion on your clips…


On Fri, Oct 18, 2013 at 10:18 PM, johnrobmoore <bigfish@pacbell.net> wrote:
 

As fate would have it today's video Sojourn was interlace material cut into a ntsc 24 frame offline and now dealing with it in the online project. Apparently they took HDV material and captured via an HVR 1500 deck into a 59.94 project. Now when they open the offline sequence in the online project it automatically modifies the sequence and now the clips that were captured in the separate 59.94 project, so I'm told as I wasn't there to witness this, seem to be modified to be 23.98 clips. This seem like the typical behavior I would expect for tapes of telecine transfers but in our case it is a pain in the arse. Now we want to decompose and capture the clips in the 59.94 project at HD resolution.

I'm coming in on the tale end of this project but can someone confirm that if the offline sequence wasn't modified to HD 23.98 that the clips from the HDV tape would remain as 29.97/59.94 clips and they could be recaptured? As it is they have to ball park the time code and eye match the clips but I'm thinking there might be a more elegant way to approach this in the future. I find AEs are kind of trigger happy to just recapture and overcut after all the issues that tend to crop up in these convoluted workflows involving mixed Frame Rate timelines.

Also to follow up on the motion adapter discussion what I have found in this project when they over cut this 59.94 HDV footage into the 23.98 timeline the default motion adapter is set to interlaced source and progressive output and the mode is blended interpolated. I've found that leads to blurry split frames and it seems that switching to interpolated field eliminates the blurred frames. I can do this without having to promote the motion adapters. Fun stuff

I also found that these clips had been slo mo'd in the offline at 50% so I had to take the motion adapter that was automatically set to 125% and halve it to 62.5% to achieve a similar motion. Man this stuff just get more and more layered even with a simple motion effect.

--- In Avid-L2@yahoogroups.com, Mark Spano <cutandcover@...> wrote:
>
> OK People, from someone who does this practically every day, please can the
> misleading information. Avid MC Motion Adapters function with a very
> specific set of defaults, and once you learn what these are and how they
> are triggered, they function without fail and flawlessly for you. The
> default motion adapter for 23.98 material in a 29.97i project is standard
> 2:3 pulldown (both fields, source progressive, output interlaced) PROVIDED
> THAT your clip has "Progressive" set in the Field Motion column in the bin.
> That said, since this is what you want almost always when doing this frame
> rate conversion, you MUST WITHOUT EXCEPTION set any "Unknown" or
> "Interlaced" Field Motion column setting for any 23.98 clips to
> "Progressive" in order to get what you want. Since so many of 23.98 clips
> are incorrectly GUESSED by Avid's interpreter to be "Unknown", when left
> alone, these clips will have incorrect motion adapters applied (source
> interlaced (?!) output interlaced, blended interpolated).
>
> So, like I said, do one video mixdown of your 23.98 sequence in the 23.98
> project. A video mixdown in a 23.98 project will ALWAYS result in that
> video mixdown clip to have "Progressive" stamped in its Field Motion
> attribute in the bin. Then, you can take that clip into the 29.97i project
> and have Avid automatically apply the proper motion adapter for 2:3
> pulldown. Mix that down again to bake in the pulldown and create a native
> 29.97i clip.
>
> There is no other in-the-box method in Avid MC that will guarantee the
> proper result. And good lord I see the shoddy handling of 23.98 material
> all over projects from other editors and all over television. Field Motion
> should be in every one of your custom bin views if you're even thinking
> about using mixed frame rates in your 29.97i projects.
>
>
> On Tue, Oct 15, 2013 at 9:21 PM, johnrobmoore <bigfish@...> wrote:
>
> > **
> >
> >
> > I've never seen the default motion adapters in mixed rate material be
> > fluid motion. Perhaps I've never looked closely. IIRC the only way to look
> > at what the automatic motion adapters are doing is to promote the motion
> > effect and look at the settings in the box. From your post it sounds like
> > they are coming up in fluid motion but that is not what I've experienced in
> > the past. Has something changed about this behavior or is it tied to the
> > motion effect render preferences? I would think fluid motion, as powerful
> > as it is sometimes, would be a bad default given the chance for artifacts
> > when all you want it 2:3 pulldown added. I'm surprised that would have to
> > be manually changed.
> >
> >
> > --- In Avid-L2@yahoogroups.com, Agustin Goya <agustingoya@> wrote:
> > >
> > > And If I`m not mistaken, if you render it as interlaced (instead of
> > > default fluid motion) you will end with a prefect 3:2 pulldown.
> > >
> > >
> > > Agustin Goya
> > > WANCAMP | POST
> > > +54-11-6545-2427
> > > http://www.wancamp.com.ar/
> > > http://www.linkedin.com/in/agustingoya/
> > >
> > >
> > > On Tue, Oct 15, 2013 at 4:26 PM, Dom Q. Silverio <domqsilverio@
> > ...>wrote:
> > >
> > > > **
> >
> > > >
> > > >
> > > > You can open your sequence in a 59.94 project, mixdown and then export.
> > > > The motion effect will be baked during the mixdown process.
> > > >
> > > > Dom Q. Silverio
> > > >
> > > >
> > > > On Tue, Oct 15, 2013 at 3:23 PM, <pepe.serventi@> wrote:
> > > >
> > > >>
> > > >>
> > > >> II was wondering how people are doing file based delivery to the
> > > >> networks. I'm using XDCAM MXF OP1a out of the Avid. This has been
> > working
> > > >> fine, but now I have a show that's 23.98 and have to deliver 59.94.
> > The
> > > >> only work around I can see is to do a cross convert out of the
> > symphony to
> > > >> HDCAM SR, then ingest that back into the Avid. Was wondering if there
> > was
> > > >> another way.
> > > >>
> > > >>
> > > >>
> > > >>
> > > >
> > > >
> > >
> >
> >
> >
>


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[Avid-L2] Re: File Base Deliveries now mixed frame rate motion adapters and quirks

 

As fate would have it today's video Sojourn was interlace material cut into a ntsc 24 frame offline and now dealing with it in the online project. Apparently they took HDV material and captured via an HVR 1500 deck into a 59.94 project. Now when they open the offline sequence in the online project it automatically modifies the sequence and now the clips that were captured in the separate 59.94 project, so I'm told as I wasn't there to witness this, seem to be modified to be 23.98 clips. This seem like the typical behavior I would expect for tapes of telecine transfers but in our case it is a pain in the arse. Now we want to decompose and capture the clips in the 59.94 project at HD resolution.

I'm coming in on the tale end of this project but can someone confirm that if the offline sequence wasn't modified to HD 23.98 that the clips from the HDV tape would remain as 29.97/59.94 clips and they could be recaptured? As it is they have to ball park the time code and eye match the clips but I'm thinking there might be a more elegant way to approach this in the future. I find AEs are kind of trigger happy to just recapture and overcut after all the issues that tend to crop up in these convoluted workflows involving mixed Frame Rate timelines.

Also to follow up on the motion adapter discussion what I have found in this project when they over cut this 59.94 HDV footage into the 23.98 timeline the default motion adapter is set to interlaced source and progressive output and the mode is blended interpolated. I've found that leads to blurry split frames and it seems that switching to interpolated field eliminates the blurred frames. I can do this without having to promote the motion adapters. Fun stuff

I also found that these clips had been slo mo'd in the offline at 50% so I had to take the motion adapter that was automatically set to 125% and halve it to 62.5% to achieve a similar motion. Man this stuff just get more and more layered even with a simple motion effect.

--- In Avid-L2@yahoogroups.com, Mark Spano <cutandcover@...> wrote:
>
> OK People, from someone who does this practically every day, please can the
> misleading information. Avid MC Motion Adapters function with a very
> specific set of defaults, and once you learn what these are and how they
> are triggered, they function without fail and flawlessly for you. The
> default motion adapter for 23.98 material in a 29.97i project is standard
> 2:3 pulldown (both fields, source progressive, output interlaced) PROVIDED
> THAT your clip has "Progressive" set in the Field Motion column in the bin.
> That said, since this is what you want almost always when doing this frame
> rate conversion, you MUST WITHOUT EXCEPTION set any "Unknown" or
> "Interlaced" Field Motion column setting for any 23.98 clips to
> "Progressive" in order to get what you want. Since so many of 23.98 clips
> are incorrectly GUESSED by Avid's interpreter to be "Unknown", when left
> alone, these clips will have incorrect motion adapters applied (source
> interlaced (?!) output interlaced, blended interpolated).
>
> So, like I said, do one video mixdown of your 23.98 sequence in the 23.98
> project. A video mixdown in a 23.98 project will ALWAYS result in that
> video mixdown clip to have "Progressive" stamped in its Field Motion
> attribute in the bin. Then, you can take that clip into the 29.97i project
> and have Avid automatically apply the proper motion adapter for 2:3
> pulldown. Mix that down again to bake in the pulldown and create a native
> 29.97i clip.
>
> There is no other in-the-box method in Avid MC that will guarantee the
> proper result. And good lord I see the shoddy handling of 23.98 material
> all over projects from other editors and all over television. Field Motion
> should be in every one of your custom bin views if you're even thinking
> about using mixed frame rates in your 29.97i projects.
>
>
> On Tue, Oct 15, 2013 at 9:21 PM, johnrobmoore <bigfish@...> wrote:
>
> > **
> >
> >
> > I've never seen the default motion adapters in mixed rate material be
> > fluid motion. Perhaps I've never looked closely. IIRC the only way to look
> > at what the automatic motion adapters are doing is to promote the motion
> > effect and look at the settings in the box. From your post it sounds like
> > they are coming up in fluid motion but that is not what I've experienced in
> > the past. Has something changed about this behavior or is it tied to the
> > motion effect render preferences? I would think fluid motion, as powerful
> > as it is sometimes, would be a bad default given the chance for artifacts
> > when all you want it 2:3 pulldown added. I'm surprised that would have to
> > be manually changed.
> >
> >
> > --- In Avid-L2@yahoogroups.com, Agustin Goya <agustingoya@> wrote:
> > >
> > > And If I`m not mistaken, if you render it as interlaced (instead of
> > > default fluid motion) you will end with a prefect 3:2 pulldown.
> > >
> > >
> > > Agustin Goya
> > > WANCAMP | POST
> > > +54-11-6545-2427
> > > http://www.wancamp.com.ar/
> > > http://www.linkedin.com/in/agustingoya/
> > >
> > >
> > > On Tue, Oct 15, 2013 at 4:26 PM, Dom Q. Silverio <domqsilverio@
> > ...>wrote:
> > >
> > > > **
> >
> > > >
> > > >
> > > > You can open your sequence in a 59.94 project, mixdown and then export.
> > > > The motion effect will be baked during the mixdown process.
> > > >
> > > > Dom Q. Silverio
> > > >
> > > >
> > > > On Tue, Oct 15, 2013 at 3:23 PM, <pepe.serventi@> wrote:
> > > >
> > > >>
> > > >>
> > > >> II was wondering how people are doing file based delivery to the
> > > >> networks. I'm using XDCAM MXF OP1a out of the Avid. This has been
> > working
> > > >> fine, but now I have a show that's 23.98 and have to deliver 59.94.
> > The
> > > >> only work around I can see is to do a cross convert out of the
> > symphony to
> > > >> HDCAM SR, then ingest that back into the Avid. Was wondering if there
> > was
> > > >> another way.
> > > >>
> > > >>
> > > >>
> > > >>
> > > >
> > > >
> > >
> >
> >
> >
>

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[Avid-L2] Re: MC / Symphony / Newscutter 5.5.4 released

 

avid_curren wrote:

 

>ReadMe:
>Customers should also be encouraged to download and scan the ReadMe so they know what is fixed.

…except the readme is for 5.5.2, as I looked hoping for verification of the backwards compatibility from v7. Marianna wrote and assured me that all is backwardsly well.

 

Keith Rollinson

 

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Re: [Avid-L2] Undo/Redo screwy?

 

So undo it...

Sent by magic over t'interweb


On 18 Oct 2013, at 20:29, Roger <rogershuff@yahoo.co.uk> wrote:

My Undo thread has been hijacked by Marianna!

On 18 Oct 2013, at 15:12, <marianna_montague@avid.com> <marianna_montague@avid.com> wrote:

 

One question folks.... on the following comment:



" My Workspace for Effect Mode has one large "Effect Monitor" window. When jumping back and forth between the Src/Rec Editing Workspace and this Effect Mode Workspace, 60%+ of the time the large window reverts to the two window display as in src/rec mode, rather than sticking as one large window, and I have to rescale it each time."

Can you confirm that, after adding the one large monitor in the Effect mode set up,  then you went and picked "Save Current" from the workspace menu?  That would make sure it was saved to that WSpace, otherwise it would just keep going back to the default (which is what you are describing). 

Marianna 

 


---In Avid-L2@yahoogroups.com, <avid-l2@yahoogroups.com> wrote:

Yes, I believe that's how it should work.


On Thu, Oct 17, 2013 at 5:50 PM, Roger Shufflebottom <rogershuff@...> wrote:
 
If so, it should still restore the edited sequence to the point I did the Undo, surely?
 
With Best Wishes,
Roger Shufflebottom
+44 7973 543 660


From: Mark Spano <cutandcover@...>
To: "Avid-L2@yahoogroups.com" <Avid-L2@yahoogroups.com>
Sent: Thursday, 17 October 2013, 22:44

Subject: Re: [Avid-L2] Undo/Redo screwy?

 
Maybe "Undo Only Record Events" is checked in Composer settings?




On Thu, Oct 17, 2013 at 5:40 PM, Roger Shufflebottom <rogershuff@...> wrote:
 
Without reading your 'Usual Suspects', this is seen with new projects and new users (and in one case, an almost new installation).
 
With Best Wishes,
Roger Shufflebottom
+44 7973 543 660


From: Benjamin Hershleder <Ben@...>
To: Avid-L2@yahoogroups.com
Sent: Thursday, 17 October 2013, 22:35
Subject: Re: [Avid-L2] Undo/Redo screwy?

 


Usual Suspects?

I also wonder if clearing Bin Memory (Project Window > Info tab) would have any benefit?

I'll see if I get the same behavior on my system and let you know.

Cheers Roger,

B
Site: http://ContactBen.com

On Oct 17, 2013, at 2:25 PM, Roger Shufflebottom wrote:

 

Only spotted this as I was teaching some new students. In both 7.0.2 and 6.5.4 on Mac OS 10.8.5. I do a number of edits then try to show how you can move down the Undo list. That works but when I try to redo back to the point I started, I only get a few steps back. The 6.5.4 Mac has 4GB RAM. The 7.0.2 Mac (new MacBook Pro) has 8GB RAM. No other apps running. I see a few mentions on the forums but no answers.
 
With Best Wishes,
Roger Shufflebottom
+44 7973 543 660















With best wishes,
Roger Shufflebottom
+44 7973 543 660



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Re: [Avid-L2] Undo/Redo screwy?

 

My Undo thread has been hijacked by Marianna!


On 18 Oct 2013, at 15:12, <marianna_montague@avid.com> <marianna_montague@avid.com> wrote:

 

One question folks.... on the following comment:



" My Workspace for Effect Mode has one large "Effect Monitor" window. When jumping back and forth between the Src/Rec Editing Workspace and this Effect Mode Workspace, 60%+ of the time the large window reverts to the two window display as in src/rec mode, rather than sticking as one large window, and I have to rescale it each time."

Can you confirm that, after adding the one large monitor in the Effect mode set up,  then you went and picked "Save Current" from the workspace menu?  That would make sure it was saved to that WSpace, otherwise it would just keep going back to the default (which is what you are describing). 

Marianna 

 


---In Avid-L2@yahoogroups.com, <avid-l2@yahoogroups.com> wrote:

Yes, I believe that's how it should work.


On Thu, Oct 17, 2013 at 5:50 PM, Roger Shufflebottom <rogershuff@...> wrote:
 
If so, it should still restore the edited sequence to the point I did the Undo, surely?
 
With Best Wishes,
Roger Shufflebottom
+44 7973 543 660


From: Mark Spano <cutandcover@...>
To: "Avid-L2@yahoogroups.com" <Avid-L2@yahoogroups.com>
Sent: Thursday, 17 October 2013, 22:44

Subject: Re: [Avid-L2] Undo/Redo screwy?

 
Maybe "Undo Only Record Events" is checked in Composer settings?




On Thu, Oct 17, 2013 at 5:40 PM, Roger Shufflebottom <rogershuff@...> wrote:
 
Without reading your 'Usual Suspects', this is seen with new projects and new users (and in one case, an almost new installation).
 
With Best Wishes,
Roger Shufflebottom
+44 7973 543 660


From: Benjamin Hershleder <Ben@...>
To: Avid-L2@yahoogroups.com
Sent: Thursday, 17 October 2013, 22:35
Subject: Re: [Avid-L2] Undo/Redo screwy?

 


Usual Suspects?

I also wonder if clearing Bin Memory (Project Window > Info tab) would have any benefit?

I'll see if I get the same behavior on my system and let you know.

Cheers Roger,

B
Site: http://ContactBen.com

On Oct 17, 2013, at 2:25 PM, Roger Shufflebottom wrote:

 

Only spotted this as I was teaching some new students. In both 7.0.2 and 6.5.4 on Mac OS 10.8.5. I do a number of edits then try to show how you can move down the Undo list. That works but when I try to redo back to the point I started, I only get a few steps back. The 6.5.4 Mac has 4GB RAM. The 7.0.2 Mac (new MacBook Pro) has 8GB RAM. No other apps running. I see a few mentions on the forums but no answers.
 
With Best Wishes,
Roger Shufflebottom
+44 7973 543 660















With best wishes,
Roger Shufflebottom
+44 7973 543 660



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[Avid-L2] RE: Color correcting different layers in a composition?

 

Thanks, Benjamin. It's great to know more options, particularly with tools I haven't used like Spot Color.


To be honest, I am ever more amazed with what I call "Battleship Avid" has in its large hold. Thanks to your advice and others on this list like Mike Drew I am able to create effects for this film that I would have otherwise not been able to afford to send out. Sound will be another exciting area to work within Avid when I have cut.


Deeply appreciate the good will of this list.


Roberto


Mandorla

To give back a bit, here's a recent blog on how some music came to the film and into our Avid edit...

"My God, It's Full of Stars!"

http://mandorlamovement.com/



---In avid-l2@yahoogroups.com, <Ben@...> wrote:



Hi Roberto,

If I'm understanding correctly what you want to accomplish, there are several ways:

#1:
Have just a single layer of video (V1) and use the Spot Color effect (Image category).

#2:
Have just a single layer of video (V1) and use the Paint effect (Image category). In the Mode menu you'll find Luma Range, where you can adjust  White Point, Black Point and Gamma (mid-tones).

#3:
Edit the same video on both V1 and V2. Put the color correction on V1, and use the AniMatte on V2 to reveal just the portion you want on V1 (in this case the man).

I hope that helps . . . .
Cheers,
Benjamin



On Oct 17, 2013, at 11:34 PM, <roberto@...> <roberto@...> wrote:

 

I'm sure I'm missing something basic here, at least I hope so.

How do I adjust the color of an object I created an matte for using AniMatte? So it better matches the plate shot on the video track beneath it?

On V2 I have a shot of a guy in an airport. I made a matte for him using AniMatte, and it works just fine. I see the video below, but it's brighter, and my guy is darker. I just need to lighten up the guy a bit and it should work fine. Both videos were shot on the same locked-off camera, just at different times.

I option-dropped the Color Correction effect on V2 and it nested on top of the Animatte. But when I try to use it, it CC's the whole video frame, V1 and V2.

Again, I'm sure I'm missing something basic. Any light that can be shed on this would be greatly appreciated!

Roberto

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