Saturday, December 28, 2013

[Avid-L2] Re: Fw: Edit system in a New York Hotel Room Avid 6.5 needed for Sunday 12_29-13?

 

Hey Ken Sirulnick I tried to email you directly regarding our system needs but I got a mailer daemon. Anybody got Ken's current email? If so please email me off list. TIA

--- In Avid-L2@yahoogroups.com, John Moore <bigfish@...> wrote:
>
>
>
>  
> John Moore
> Barking Trout Productions
> Studio City, CA
> bigfish@...
>
> ----- Forwarded Message -----
> From: John Moore <bigfish@...>
> To: Avid L2 <Avid-L2@yahoogroups.com>
> Sent: Saturday, December 28, 2013 5:23 PM
> Subject: Edit system in a New York Hotel Room Avid 6.5 needed for Sunday 12_29-13?
>
>
>
> I just found out the company I work at is sending one of our editors to New York to cut some packages in a hotel room.  Short of dragging one of our edit systems on a plane I figure somebody in New York might have a suggestion for a portable bay rental that could be set up in a hotel room.  They will also probably need a good assistant editor.  Apparently they looked at Broadway Video but found it too pricey.  If anyone has a system with Avid mac Ver 6.5 and or a facility suggestion we would appreciate it.
>
>  
> John Moore
> Barking Trout Productions
> Studio City, CA
> bigfish@...
>

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[Avid-L2] Fw: Edit system in a New York Hotel Room Avid 6.5 needed for Sunday 12_29-13?

 

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

----- Forwarded Message -----
From: John Moore <bigfish@pacbell.net>
To: Avid L2 <Avid-L2@yahoogroups.com>
Sent: Saturday, December 28, 2013 5:23 PM
Subject: Edit system in a New York Hotel Room Avid 6.5 needed for Sunday 12_29-13?

I just found out the company I work at is sending one of our editors to New York to cut some packages in a hotel room.  Short of dragging one of our edit systems on a plane I figure somebody in New York might have a suggestion for a portable bay rental that could be set up in a hotel room.  They will also probably need a good assistant editor.  Apparently they looked at Broadway Video but found it too pricey.  If anyone has a system with Avid mac Ver 6.5 and or a facility suggestion we would appreciate it.
 
John Moore
Barking Trout Productions
Studio City, CA
bigfish@pacbell.net


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[Avid-L2] Edit system in a New York Hotel Room Avid 6.5 needed for Sunday 12_29-13?

 

I just found out the company I work at is sending one of our editors to New York to cut some packages in a hotel room.  Short of dragging one of our edit systems on a plane I figure somebody in New York might have a suggestion for a portable bay rental that could be set up in a hotel room.  They will also probably need a good assistant editor.  Apparently they looked at Broadway Video but found it too pricey.  If anyone has a system with Avid mac Ver 6.5 and or a facility suggestion we would appreciate it.
 
John Moore
Barking Trout Productions
Studio City, CA
bigfish@pacbell.net

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Re: [Avid-L2] RE: Another question regarding mattes in MC

 

When can we get exr support and access to depth channels and motion vectors?

Image file formats are much more than just rgb these days.

Mike

On 29 Dec, 2013, at 3:51 am, <tcurren@aol.com> wrote:

 

Well, they are getting closer with alpha supported in AMA. My guess is something along the lines of AS format of exports will be the solution.


Media Composer "import/export" is built on the QT engine which is not long for the world, which is why I would expect to see some other solution.

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[Avid-L2] RE: Another question regarding mattes in MC

 

Well, they are getting closer with alpha supported in AMA. My guess is something along the lines of AS format of exports will be the solution.


Media Composer "import/export" is built on the QT engine which is not long for the world, which is why I would expect to see some other solution.

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[Avid-L2] Making Batch Import Smarter

 

On MC 7.0.2 I've been importing ALE files from a composer's library and
then batch importing his music files. Despite all the files being in the
same folder, the Avid has me indicate the location of each, one at a
time which is rather tedious.

I believe at other times, the AVID learns the location of one missing
file and, if the others are in the same folder, finds those as well.

Is there something I can add to ALE that will generate that smarter
behavior? Why does it do it sometimes and not others?

Thanks for any advice,

D.

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[Avid-L2] Another question regarding mattes in MC

 

Another question regarding mattes, when will MC support exporting a matte with transparency?

Anybody? thanks,
Owen

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[Avid-L2] Re: FYI - Still no Matrox drivers...

 

Long holiday break hey...
It explains why the thread I opened got no reply yet:
http://forum.matrox.com/mxo/viewtopic.php?t=13404

And only 9 reads in more than 24 hours... That kind of explains why they don't feel much pressure to update the drivers to their gear.

Pierre
ps: does mavericks with its optimisation bring a snappier MC than MLion or is it the same?

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Friday, December 27, 2013

[Avid-L2] Re: Proper On Tape level for matte key alpha elements?

 

I'm not sure I follow when you say, "ame way you'd get an alpha in an RGBa file" given these were graphics imported into Avid as RGB level. Like I said before my understanding the Alpha channel stays full range in Avid. So I in effect got an RGBa graphic .mov and once imported into Avid the alpha is full swing. There is no problem in Avid with this but when outputting to tape I did make the levels legal and I inverted the alpha so the white is where the fill video will go which is the way a switcher works, just the opposite of Avid.

--- In Avid-L2@yahoogroups.com, Greg Huson <Greg@...> wrote:
>
> We've always treated it like we would of 15 years ago- black is black -zero- white is 100. Same way you'd get an alpha in an RGBa file. If delivering QT, export at RGB levels...
>
> One truck we work with once a year or so, requires XDcam - and treats it like tape- but then ingests it into the EVS. There's a concatenating compression mind-f#ck... you know, if you think about it like John... I try not to do that. ;-)
>
> GH
> ________________________
> Greg Huson
> Secret Headquarters, Inc
> Greg (at) SecretHQ.com
> www.SecretHQ.com
> DigitalServicsStation.com
>
> > On Dec 27, 2013, at 8:56 PM, John Pale <pale.edit@...> wrote:
> >
> > I've always just copy/pasted the matte as is and output to tape. Done it many times over many years and never got a single complaint.
> >
> >
> > I also don't usually make separate tapes unless it's for a linear truck. Just put the matte after the fill on the same reel. If the matte starts in black put an x on the frame before it starts. Having separate tapes just increases the chance one will get lost.
> >
> > J
> >
> >
> >> On Friday, December 27, 2013, John Moore wrote:
> >>
> >> I'm building a roll in reel for ingest into an EVS unit for a live show. I've got matte key elements and I've separated out the fill and alpha video. As I understand Avid's matte key structure the fill should be 16-235 and the matte key alpha is actually full range 0-255. Now when I pull out the alpha channel I have super whites and blacks as would be expected. I am hesitant to color correct this into 16-235 as I don't want to distort how the switcher will interpret the key signal. I'm building fill on one tape and alpha on another tape with matching time code so they can sync roll when ingesting into the EVS unit at the remote. I know the TD can tweak his linear keyer but I'm curious if anyone more familiar with the EVS feeding a key signal to a switcher if I should infact bring the matte signal to reside within 0 to 700 milllivolts? TIA
> >>
> >> John Moore
> >> Barking Trout Productions
> >> Studio City, CA
> >> bigfish@...
> >
> >
>

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[Avid-L2] Re: Proper On Tape level for matte key alpha elements?

 

According to the director the EVS ingests both fill and matte at the same time in a sync roll simul ingest to the EVS. What's really weird is that the RGB screaming hot levels go down to 700 millivolts to 0 millivolts during the digital cut only.

--- In Avid-L2@yahoogroups.com, John Pale <pale.edit@...> wrote:
>
> I've always just copy/pasted the matte as is and output to tape. Done it
> many times over many years and never got a single complaint.
>
> I also don't usually make separate tapes unless it's for a linear truck.
> Just put the matte after the fill on the same reel. If the matte starts
> in black put an x on the frame before it starts. Having separate tapes
> just increases the chance one will get lost.
>
> J
>
>
> On Friday, December 27, 2013, John Moore wrote:
>
> >
> >
> > I'm building a roll in reel for ingest into an EVS unit for a live show.
> > I've got matte key elements and I've separated out the fill and alpha
> > video. As I understand Avid's matte key structure the fill should be
> > 16-235 and the matte key alpha is actually full range 0-255. Now when I
> > pull out the alpha channel I have super whites and blacks as would be
> > expected. I am hesitant to color correct this into 16-235 as I don't want
> > to distort how the switcher will interpret the key signal. I'm building
> > fill on one tape and alpha on another tape with matching time code so they
> > can sync roll when ingesting into the EVS unit at the remote. I know the
> > TD can tweak his linear keyer but I'm curious if anyone more familiar with
> > the EVS feeding a key signal to a switcher if I should infact bring the
> > matte signal to reside within 0 to 700 milllivolts? TIA
> >
> > John Moore
> > Barking Trout Productions
> > Studio City, CA
> > bigfish@...
> >
> >
> >
>

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Re: [Avid-L2] Proper On Tape level for matte key alpha elements?

 

We've always treated it like we would of 15 years ago- black is black -zero- white is 100.  Same way you'd get an alpha in an RGBa file.  If delivering QT, export at RGB levels... 

One truck we work with once a year or so, requires XDcam - and treats it like tape- but then ingests it into the EVS.  There's a concatenating compression mind-f#ck... you know, if you think about it like John... I try not to do that.  ;-)

GH
________________________
Greg Huson
Secret Headquarters, Inc
Greg (at) SecretHQ.com

On Dec 27, 2013, at 8:56 PM, John Pale <pale.edit@gmail.com> wrote:

 

I've always just copy/pasted the matte as is and output to tape.   Done it many times over many years and never got a single complaint.


I also don't usually make separate tapes unless it's for a linear truck.  Just put the matte after the fill on the same reel.   If the matte starts in black put an x on the frame before it starts.  Having separate tapes just increases the chance one will get lost.  

J


On Friday, December 27, 2013, John Moore wrote:
 

I'm building a roll in reel for ingest into an EVS unit for a live show.  I've got matte key elements and I've separated out the fill and alpha video.  As I understand Avid's matte key structure the fill should be 16-235 and the matte key alpha is actually full range 0-255.  Now when I pull out the alpha channel I have super whites and blacks as would be expected.  I am hesitant to color correct this into 16-235 as I don't want to distort how the switcher will interpret the key signal.  I'm building fill on one tape and alpha on another tape with matching time code so they can sync roll when ingesting into the EVS unit at the remote.  I know the TD can tweak his linear keyer but I'm curious if anyone more familiar with the EVS feeding a key signal to a switcher if I should infact bring the matte signal to reside within 0 to 700 milllivolts?  TIA
 
John Moore
Barking Trout Productions
Studio City, CA
bigfish@pacbell.net

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[Avid-L2] Proper On Tape level for matte key alpha elements?

 

I've always just copy/pasted the matte as is and output to tape.   Done it many times over many years and never got a single complaint.


I also don't usually make separate tapes unless it's for a linear truck.  Just put the matte after the fill on the same reel.   If the matte starts in black put an x on the frame before it starts.  Having separate tapes just increases the chance one will get lost.  

J


On Friday, December 27, 2013, John Moore wrote:
 

I'm building a roll in reel for ingest into an EVS unit for a live show.  I've got matte key elements and I've separated out the fill and alpha video.  As I understand Avid's matte key structure the fill should be 16-235 and the matte key alpha is actually full range 0-255.  Now when I pull out the alpha channel I have super whites and blacks as would be expected.  I am hesitant to color correct this into 16-235 as I don't want to distort how the switcher will interpret the key signal.  I'm building fill on one tape and alpha on another tape with matching time code so they can sync roll when ingesting into the EVS unit at the remote.  I know the TD can tweak his linear keyer but I'm curious if anyone more familiar with the EVS feeding a key signal to a switcher if I should infact bring the matte signal to reside within 0 to 700 milllivolts?  TIA
 
John Moore
Barking Trout Productions
Studio City, CA
bigfish@pacbell.net

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[Avid-L2] Re: Proper On Tape level for matte key alpha elements?

 

I found some curious behavior when finally outputting to tape on this project. I pulled the alpha channels out and they were screaming hot as discribed but then when doing a digital cut the levels were 0 to 700 millivolts. Stopping the output and bang the levels are screaming again. If I put a submaster over the alpha channel and render that then the levels stay hot when doing a digital cut. In the past I've seen odd behavior with alpha channels pulled out from matte keys where it would be an urecognized or incompatible resolution. The stuff I'm seeing today seems to indicate that Avid is somehow keeping tabs that the matte key alpha is full swing 0to 255 and seems to clamp it down or clip it to legal levels on digital cut unless it's rendered in with a submaster effect on top. Very weird.

--- In Avid-L2@yahoogroups.com, John Moore <bigfish@...> wrote:
>
> I'm building a roll in reel for ingest into an EVS unit for a live show.  I've got matte key elements and I've separated out the fill and alpha video.  As I understand Avid's matte key structure the fill should be 16-235 and the matte key alpha is actually full range 0-255.  Now when I pull out the alpha channel I have super whites and blacks as would be expected.  I am hesitant to color correct this into 16-235 as I don't want to distort how the switcher will interpret the key signal.  I'm building fill on one tape and alpha on another tape with matching time code so they can sync roll when ingesting into the EVS unit at the remote.  I know the TD can tweak his linear keyer but I'm curious if anyone more familiar with the EVS feeding a key signal to a switcher if I should infact bring the matte signal to reside within 0 to 700 milllivolts?  TIA
>
>  
> John Moore
> Barking Trout Productions
> Studio City, CA
> bigfish@...
>

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[Avid-L2] Proper On Tape level for matte key alpha elements?

 

I'm building a roll in reel for ingest into an EVS unit for a live show.  I've got matte key elements and I've separated out the fill and alpha video.  As I understand Avid's matte key structure the fill should be 16-235 and the matte key alpha is actually full range 0-255.  Now when I pull out the alpha channel I have super whites and blacks as would be expected.  I am hesitant to color correct this into 16-235 as I don't want to distort how the switcher will interpret the key signal.  I'm building fill on one tape and alpha on another tape with matching time code so they can sync roll when ingesting into the EVS unit at the remote.  I know the TD can tweak his linear keyer but I'm curious if anyone more familiar with the EVS feeding a key signal to a switcher if I should infact bring the matte signal to reside within 0 to 700 milllivolts?  TIA
 
John Moore
Barking Trout Productions
Studio City, CA
bigfish@pacbell.net

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