Saturday, May 7, 2016

Re: [Avid-L2] New Blue Enema Time?

 

That's good to know.  Given this is for Netflix with their strict edict of True 4K I wonder it they would notice.  Fortunately there are virtually no titles in this project other than credits and a slate.



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

There is a simple work around.  The same features that allow you to work in 4K also allow proxy settings, or changing the resolution of your avid on the fly.  For offline, I just suggest working with the title tool while switched to 1080p.  When you are ready to output you can switch to 4k and the scaling is minimal.  Fact of the matter is that most of your clients won't notice the titles are scaled 1080p, and the ones that do are probably having custom graphics made anyway.

Just a thought.

Dave Hogan
Burbank, CA


On Friday, May 6, 2016 10:40 PM, "Mike Parsons mikeparsons.tv@... [Avid-L2]" <Avid-L2@yahoogroups.com> wrote:


 
Me? I'm the bad guy?

Almost forgot everything is always my fault:)

I still miss the chyron 4 so don't pick on me:)

Sent from my iPhone

On May 7, 2016, at 11:05 AM, John Moore bigfish@... [Avid-L2] <Avid-L2@yahoogroups.com> wrote:

 
Okay I'm willing to learn new things when needed but I find the loss of the Title Tool in 4K just Fing stupid.  I don't care how lame title tool is, the point is it works for what it has been used for for decades.  Please someone correct me if I'm wrong given my novice status on New Blue but it appears I can no longer recreate titles in a sequence like I'm use to. The lack of an auto promotion for a sequence like you could do with Marquee is really a pain.  Do I really have to highlight all the titles while in effects mode and then click the promote option in the tools menu?  At that point can I choose Recreate Titles from in to out like I'm use to?

When I promoted a slate and a main title slug the slate worked but the main title slug was a little over 15 seconds but the new blue title interface only created 3 seconds of title timeline so the title just faded out and disappeared after 3 seconds in the timeline.  I found the duration command but even when creating a brand new New Blue title is still defaulted to only 3 seconds in the New Blue Timeline.  Is this some sort of preference that a new title takes on characteristics of the previously recreated title?  I can't imagine why when I place a brand new New Blue Title Effect into the timeline with a duration of 15:18 it opens up with "enter text" but it only lasts 3 seconds.  When I save the title by closing the box it says it renders but nothing appears in a bin anywhere so it seems the only way to reuse a title is by hole down Cmd/Ctrl while save the effect to a bin to save it with source.  Even after doing that I'm thinking it's going to keep the timeline characteristic's of the original effect so that would mean I'd have to go in a tweak that instead of just cutting in the same title in a new place like I'm use to.

Look I get that it's a more powerful tool but it doesn't appear to work much like the existing Title Tool on my admittedly limited start with it.  Bottom line is it seems a very different beast and it doesn't seem like it is going to work anything like the Title Tool has for decades.  I really don't understand if they were able to migrate the title tool to HD now we are just going to something 4 times bigger.  Okay for True 4K is a bit more than 4 times bigger but come on this is a basic core part of the software that people have grown accustomed too for decades.  I haven't had the need to work in a True 2K project yet does the title tool work in those projects?

I can't imagine it would cost anywhere near 6 million dollars to update the title tool to work in 4K.  Let's see I wonder where Avid might be wasting 6 million dollars that could be better spent on keeping the Avid product viable in a 4K world.  I know there was something I read about 6 million bucks and Avid.  Oh what could it be?  It's on the tip of my tongue but I just can't remember what it was.  Hey wait there's a rerun of the Six Million Dollar Man on Antenna TV right now.  Always loved that show.  Yeah the 6 million dollar sound effect is soooo great and brings back such memories.  Oh what was I talking about?

See Mike P.  some of us are very open minded we can complain about the old title tool and it's supposed replacement the New Blue Enema equally.  That's not being closed minded is it?
 
John Moore Barking Trout Productions Studio City, CA bigfish@...


__._,_.___

Posted by: bigfish@pacbell.net
Reply via web post Reply to sender Reply to group Start a New Topic Messages in this topic (4)
this is the Avid-L2

.

__,_._,___

Re: [Avid-L2] Re: Is Avid RGB export of DNX-175X media really RGB in video essence level?

 

Great, Thanks!


On Saturday, May 7, 2016 9:07 AM, "Dave Hogan mactvman@yahoo.com [Avid-L2]" <Avid-L2@yahoogroups.com> wrote:


 
One more idea... Make the MXF OP1a out of avid, open it in Resolve on a Mac and export to ProRes there.

And you mentioned monitoring...

In the previous solution, levels and monitoring would be with your normal scopes, as you only add the color lut to push to full range at the last stage of export.

In Resolve, it works internally in full range.  I don't have Resolve with a Blackmagic appliance, so I don't know how that works.

Dave Hogan
Burbank, CA


On Saturday, May 7, 2016 1:04 AM, "Dave Hogan mactvman@yahoo.com [Avid-L2]" <Avid-L2@yahoogroups.com> wrote:


 
I work on a daily basis using "RGB" project settings in the AVID  (Currently in v8.3.1).  To be clear, and many probably already know this, the AVID project setting for RGB vs YRB is only about bit resolution of each channel.  AVID still functions ONLY in 601/709 colorspace INSIDE the AVID.

Clipster uses a terminology of FULL vs HEADSPACE, to indicate that in the former, you have black at zero and white at max.  In 8 bit that would be 0 and 255.  In 10 bit it.s 0 and 1027.

So there are two different kinds of RGB when discussing the AVID.  When you set your colorspace in the project settings to RGB, you still have headroom on black and white, it's just that you have 3 full channels of full range and 10 bit resolution (Red, Green & Blue).  In this setting we have only two resolutions in 1080p, DNxHD 440 and Uncompressed.  Both are 10 bit only.

When switching to YRB (4:2:2) you have both of your color difference channels half sampled, and all but your max DNX resolution are 8 bit, and you have a choice on uncompressed of 8 or 10 bit.  (the unmarked one being 8 bit).

Now I have run into MANY inconsistencies when trying to create full range RGB QuickTimes.  The AVID is consistently inconsistent in this manner.  I have done exports with the same settings, and had them work right sometimes and wrong others.

Michael Phillips has tackled this problem in two ways, in the following post.  First he recommends creating exports using the MXF OP1a export, to get reliable exports of AVID resolution you require.  To get full range, you just apply a color lut to the timeline you are exporting, and it will bump the levels to full range.

I don't know how far back these features go, or if you have access to a current version of MC for your exports, but this is a simple and reliable way to export from the AVID, and get full range levels.

Hope this is of some assistance,

Dave Hogan
Burbank, CA







On Friday, May 6, 2016 6:45 PM, "bigfish@pacbell.net [Avid-L2]" <Avid-L2@yahoogroups.com> wrote:


 
Wow I sent this one yesterday and it shows up now.  I've notice my last reply to this thread from today hasn't popped up either but others have from today and now this one shows up from yesterday.  Funky town on the internet.


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

I've asked several forms of this question in the past but today I have a specific request from the truck engineers for a live show we are prepping playback elements for.  For starters we've shot primarily with Alexa, I know that horrible camera that isn't even Netflix 4K worthy, but we are doing HD 23.976 transcoding to DNX 175X for offline and online given our quick turn around.  We are baking in the LogC to Rec 709 LUT and all looks fine.  We always work Rec 709 in Avid as it's the broadcast standard for all our deliveries.

Now the truck person wants us to deliver 59.94i files in DNX-145 8 bit RGB files.  Well for starters DNX-145 is only 8 bit so that is a no brainer.  59.94i is also understandable as this will be a live broadcast in the US.  It's the RGB that is confusing me.  I have done the mixdown in the 23.976 project to DNX 115, which I assume it the DNX-145 equivalent just like DNX-175X is the DNX-220X equivalent, and then opened a 59.94i with all the motion adapters and modification to the mixdown sequence.  I then export a QT movie with custom set to DNX-145 Upper field and click RGB to comply with the requests.  Now the resulting file is 59.94i but when I ama link to it the levels of color bars come back in perfectly.  Given it is an Avid codec I have no ability to change the source settings from 709 to RGB to see if there is a difference.  Given I've always understood the ama link to bypass the QT engine and therefore display the true video essence of a file I would expect if I had truly exported to RGB levelsI would be seeing color bars going way below 0 millivolts and way over 700 mV just like I do when an RGB level file is imported as if it is 709 and not scaled into legal range.  Doesn't this mean the real video essence in the supposedly RGB exported file is still 709 levels. 

I also used Adobe Media Encoder sending a QT ref file from the 23.976 project and setting it's levels to RGB and also a 2nd QT ref set to 709.  Once baked out of AME with the pulldown added the QT Ref exported at RGB level comes back ama linked in Avid at perfect levels while the QT Ref exported with 709 level checked comes back ama linked low in level.  This behavior is common for me when using AME so I always check RGB when exporting QT ref to AME.  Bottom line is once again the RGB exported QT ref once processed in AME yield the correct levels when ama linked back into Avid.  So to me that means the actual video essence is still 709.

I'm waiting to hear back if the AME file will be acceptable.  I'm beginning to think that the behavior I see in AME with regards to checking RGB vs 709 level is indicative of how other types of software read files and maybe the gear on the truck needs the metadata flag set to RGB to properly handle a file which is really 709 in video essence.  I'll report back when I find out but apparently the truck person is being very uncooperative about questions as to why they want a "RGB" file and not the ubiquitous 709 standard that is what the network that is airing the live show wants when we give them files.  What kind of truck playback system doesn't work with 709 video levels?  I also get suspicious of tech specs that request DNX-145 8 bit given 145 is only 8 bit.  What's next a tip penetration spec on the file?

On a related topic.  I never work in RGB projects as all my work is broadcast but if I were to work in an RGB project how do I properly monitor that in my Tek wfm-7020 and Rec 709 program monitor.  I see when I'm running Ver 8.5.2 when I change the project color space things change drastically with 2020 shifting hue on the vector scope, which is the way the math works as far as I know.  When I switch to and RGB project the levels jump well below 0 and over 700 so what is one to do when scoping and RGB show.  I will have to look but I don't recall and RGB mode on my scope, something akin to choosing 100 percent bars over 75 percent in the vector scope setting.  And what would be a compelling reason to work in RGB space.  I think that is common in 444 projects but I don't have in practical experience or need to work those projects yet.
 
John Moore Barking Trout Productions Studio City, CA bigfish@...






__._,_.___

Posted by: <ramsey.gael@yahoo.com>
Reply via web post Reply to sender Reply to group Start a New Topic Messages in this topic (17)
this is the Avid-L2

.

__,_._,___

Re: [Avid-L2] Best TV monitor to replace a panasonic plasma?

 

The producer I worked with a few months ago was happy to review my work on his iPhone. ;-))

Marcel

On 06-05-2016, at 10:18 PM, Michael Brockington mbrock321@gmail.com [Avid-L2] wrote:

> Do any of the affordable TV monitors available now provide a comparable
> image to plasma? I'm assuming OLED is still very expensive. Have the
> LCD's improved as much as the marketing claims? Curious to gather some
> opinions...
>
> Thanks,
> --Michael

__._,_.___

Posted by: Marcel Brassard <bncrcaxlr@gmail.com>
Reply via web post Reply to sender Reply to group Start a New Topic Messages in this topic (2)
this is the Avid-L2

.

__,_._,___

Re: [Avid-L2] Re: Is Avid RGB export of DNX-175X media really RGB in video essence level?

 

One more idea... Make the MXF OP1a out of avid, open it in Resolve on a Mac and export to ProRes there.

And you mentioned monitoring...

In the previous solution, levels and monitoring would be with your normal scopes, as you only add the color lut to push to full range at the last stage of export.

In Resolve, it works internally in full range.  I don't have Resolve with a Blackmagic appliance, so I don't know how that works.

Dave Hogan
Burbank, CA


On Saturday, May 7, 2016 1:04 AM, "Dave Hogan mactvman@yahoo.com [Avid-L2]" <Avid-L2@yahoogroups.com> wrote:


 
I work on a daily basis using "RGB" project settings in the AVID  (Currently in v8.3.1).  To be clear, and many probably already know this, the AVID project setting for RGB vs YRB is only about bit resolution of each channel.  AVID still functions ONLY in 601/709 colorspace INSIDE the AVID.

Clipster uses a terminology of FULL vs HEADSPACE, to indicate that in the former, you have black at zero and white at max.  In 8 bit that would be 0 and 255.  In 10 bit it.s 0 and 1027.

So there are two different kinds of RGB when discussing the AVID.  When you set your colorspace in the project settings to RGB, you still have headroom on black and white, it's just that you have 3 full channels of full range and 10 bit resolution (Red, Green & Blue).  In this setting we have only two resolutions in 1080p, DNxHD 440 and Uncompressed.  Both are 10 bit only.

When switching to YRB (4:2:2) you have both of your color difference channels half sampled, and all but your max DNX resolution are 8 bit, and you have a choice on uncompressed of 8 or 10 bit.  (the unmarked one being 8 bit).

Now I have run into MANY inconsistencies when trying to create full range RGB QuickTimes.  The AVID is consistently inconsistent in this manner.  I have done exports with the same settings, and had them work right sometimes and wrong others.

Michael Phillips has tackled this problem in two ways, in the following post.  First he recommends creating exports using the MXF OP1a export, to get reliable exports of AVID resolution you require.  To get full range, you just apply a color lut to the timeline you are exporting, and it will bump the levels to full range.

I don't know how far back these features go, or if you have access to a current version of MC for your exports, but this is a simple and reliable way to export from the AVID, and get full range levels.

Hope this is of some assistance,

Dave Hogan
Burbank, CA







On Friday, May 6, 2016 6:45 PM, "bigfish@pacbell.net [Avid-L2]" <Avid-L2@yahoogroups.com> wrote:


 
Wow I sent this one yesterday and it shows up now.  I've notice my last reply to this thread from today hasn't popped up either but others have from today and now this one shows up from yesterday.  Funky town on the internet.


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

I've asked several forms of this question in the past but today I have a specific request from the truck engineers for a live show we are prepping playback elements for.  For starters we've shot primarily with Alexa, I know that horrible camera that isn't even Netflix 4K worthy, but we are doing HD 23.976 transcoding to DNX 175X for offline and online given our quick turn around.  We are baking in the LogC to Rec 709 LUT and all looks fine.  We always work Rec 709 in Avid as it's the broadcast standard for all our deliveries.

Now the truck person wants us to deliver 59.94i files in DNX-145 8 bit RGB files.  Well for starters DNX-145 is only 8 bit so that is a no brainer.  59.94i is also understandable as this will be a live broadcast in the US.  It's the RGB that is confusing me.  I have done the mixdown in the 23.976 project to DNX 115, which I assume it the DNX-145 equivalent just like DNX-175X is the DNX-220X equivalent, and then opened a 59.94i with all the motion adapters and modification to the mixdown sequence.  I then export a QT movie with custom set to DNX-145 Upper field and click RGB to comply with the requests.  Now the resulting file is 59.94i but when I ama link to it the levels of color bars come back in perfectly.  Given it is an Avid codec I have no ability to change the source settings from 709 to RGB to see if there is a difference.  Given I've always understood the ama link to bypass the QT engine and therefore display the true video essence of a file I would expect if I had truly exported to RGB levelsI would be seeing color bars going way below 0 millivolts and way over 700 mV just like I do when an RGB level file is imported as if it is 709 and not scaled into legal range.  Doesn't this mean the real video essence in the supposedly RGB exported file is still 709 levels. 

I also used Adobe Media Encoder sending a QT ref file from the 23.976 project and setting it's levels to RGB and also a 2nd QT ref set to 709.  Once baked out of AME with the pulldown added the QT Ref exported at RGB level comes back ama linked in Avid at perfect levels while the QT Ref exported with 709 level checked comes back ama linked low in level.  This behavior is common for me when using AME so I always check RGB when exporting QT ref to AME.  Bottom line is once again the RGB exported QT ref once processed in AME yield the correct levels when ama linked back into Avid.  So to me that means the actual video essence is still 709.

I'm waiting to hear back if the AME file will be acceptable.  I'm beginning to think that the behavior I see in AME with regards to checking RGB vs 709 level is indicative of how other types of software read files and maybe the gear on the truck needs the metadata flag set to RGB to properly handle a file which is really 709 in video essence.  I'll report back when I find out but apparently the truck person is being very uncooperative about questions as to why they want a "RGB" file and not the ubiquitous 709 standard that is what the network that is airing the live show wants when we give them files.  What kind of truck playback system doesn't work with 709 video levels?  I also get suspicious of tech specs that request DNX-145 8 bit given 145 is only 8 bit.  What's next a tip penetration spec on the file?

On a related topic.  I never work in RGB projects as all my work is broadcast but if I were to work in an RGB project how do I properly monitor that in my Tek wfm-7020 and Rec 709 program monitor.  I see when I'm running Ver 8.5.2 when I change the project color space things change drastically with 2020 shifting hue on the vector scope, which is the way the math works as far as I know.  When I switch to and RGB project the levels jump well below 0 and over 700 so what is one to do when scoping and RGB show.  I will have to look but I don't recall and RGB mode on my scope, something akin to choosing 100 percent bars over 75 percent in the vector scope setting.  And what would be a compelling reason to work in RGB space.  I think that is common in 444 projects but I don't have in practical experience or need to work those projects yet.
 
John Moore Barking Trout Productions Studio City, CA bigfish@...




__._,_.___

Posted by: Dave Hogan <mactvman@yahoo.com>
Reply via web post Reply to sender Reply to group Start a New Topic Messages in this topic (16)
this is the Avid-L2

.

__,_._,___

Re: [Avid-L2] Re: Is Avid RGB export of DNX-175X media really RGB in video essence level?

 

I work on a daily basis using "RGB" project settings in the AVID  (Currently in v8.3.1).  To be clear, and many probably already know this, the AVID project setting for RGB vs YRB is only about bit resolution of each channel.  AVID still functions ONLY in 601/709 colorspace INSIDE the AVID.

Clipster uses a terminology of FULL vs HEADSPACE, to indicate that in the former, you have black at zero and white at max.  In 8 bit that would be 0 and 255.  In 10 bit it.s 0 and 1027.

So there are two different kinds of RGB when discussing the AVID.  When you set your colorspace in the project settings to RGB, you still have headroom on black and white, it's just that you have 3 full channels of full range and 10 bit resolution (Red, Green & Blue).  In this setting we have only two resolutions in 1080p, DNxHD 440 and Uncompressed.  Both are 10 bit only.

When switching to YRB (4:2:2) you have both of your color difference channels half sampled, and all but your max DNX resolution are 8 bit, and you have a choice on uncompressed of 8 or 10 bit.  (the unmarked one being 8 bit).

Now I have run into MANY inconsistencies when trying to create full range RGB QuickTimes.  The AVID is consistently inconsistent in this manner.  I have done exports with the same settings, and had them work right sometimes and wrong others.

Michael Phillips has tackled this problem in two ways, in the following post.  First he recommends creating exports using the MXF OP1a export, to get reliable exports of AVID resolution you require.  To get full range, you just apply a color lut to the timeline you are exporting, and it will bump the levels to full range.

I don't know how far back these features go, or if you have access to a current version of MC for your exports, but this is a simple and reliable way to export from the AVID, and get full range levels.

Hope this is of some assistance,

Dave Hogan
Burbank, CA







On Friday, May 6, 2016 6:45 PM, "bigfish@pacbell.net [Avid-L2]" <Avid-L2@yahoogroups.com> wrote:


 
Wow I sent this one yesterday and it shows up now.  I've notice my last reply to this thread from today hasn't popped up either but others have from today and now this one shows up from yesterday.  Funky town on the internet.


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

I've asked several forms of this question in the past but today I have a specific request from the truck engineers for a live show we are prepping playback elements for.  For starters we've shot primarily with Alexa, I know that horrible camera that isn't even Netflix 4K worthy, but we are doing HD 23.976 transcoding to DNX 175X for offline and online given our quick turn around.  We are baking in the LogC to Rec 709 LUT and all looks fine.  We always work Rec 709 in Avid as it's the broadcast standard for all our deliveries.

Now the truck person wants us to deliver 59.94i files in DNX-145 8 bit RGB files.  Well for starters DNX-145 is only 8 bit so that is a no brainer.  59.94i is also understandable as this will be a live broadcast in the US.  It's the RGB that is confusing me.  I have done the mixdown in the 23.976 project to DNX 115, which I assume it the DNX-145 equivalent just like DNX-175X is the DNX-220X equivalent, and then opened a 59.94i with all the motion adapters and modification to the mixdown sequence.  I then export a QT movie with custom set to DNX-145 Upper field and click RGB to comply with the requests.  Now the resulting file is 59.94i but when I ama link to it the levels of color bars come back in perfectly.  Given it is an Avid codec I have no ability to change the source settings from 709 to RGB to see if there is a difference.  Given I've always understood the ama link to bypass the QT engine and therefore display the true video essence of a file I would expect if I had truly exported to RGB levelsI would be seeing color bars going way below 0 millivolts and way over 700 mV just like I do when an RGB level file is imported as if it is 709 and not scaled into legal range.  Doesn't this mean the real video essence in the supposedly RGB exported file is still 709 levels. 

I also used Adobe Media Encoder sending a QT ref file from the 23.976 project and setting it's levels to RGB and also a 2nd QT ref set to 709.  Once baked out of AME with the pulldown added the QT Ref exported at RGB level comes back ama linked in Avid at perfect levels while the QT Ref exported with 709 level checked comes back ama linked low in level.  This behavior is common for me when using AME so I always check RGB when exporting QT ref to AME.  Bottom line is once again the RGB exported QT ref once processed in AME yield the correct levels when ama linked back into Avid.  So to me that means the actual video essence is still 709.

I'm waiting to hear back if the AME file will be acceptable.  I'm beginning to think that the behavior I see in AME with regards to checking RGB vs 709 level is indicative of how other types of software read files and maybe the gear on the truck needs the metadata flag set to RGB to properly handle a file which is really 709 in video essence.  I'll report back when I find out but apparently the truck person is being very uncooperative about questions as to why they want a "RGB" file and not the ubiquitous 709 standard that is what the network that is airing the live show wants when we give them files.  What kind of truck playback system doesn't work with 709 video levels?  I also get suspicious of tech specs that request DNX-145 8 bit given 145 is only 8 bit.  What's next a tip penetration spec on the file?

On a related topic.  I never work in RGB projects as all my work is broadcast but if I were to work in an RGB project how do I properly monitor that in my Tek wfm-7020 and Rec 709 program monitor.  I see when I'm running Ver 8.5.2 when I change the project color space things change drastically with 2020 shifting hue on the vector scope, which is the way the math works as far as I know.  When I switch to and RGB project the levels jump well below 0 and over 700 so what is one to do when scoping and RGB show.  I will have to look but I don't recall and RGB mode on my scope, something akin to choosing 100 percent bars over 75 percent in the vector scope setting.  And what would be a compelling reason to work in RGB space.  I think that is common in 444 projects but I don't have in practical experience or need to work those projects yet.
 
John Moore Barking Trout Productions Studio City, CA bigfish@...


__._,_.___

Posted by: Dave Hogan <mactvman@yahoo.com>
Reply via web post Reply to sender Reply to group Start a New Topic Messages in this topic (15)
this is the Avid-L2

.

__,_._,___

Re: [Avid-L2] New Blue Enema Time?

 

There is a simple work around.  The same features that allow you to work in 4K also allow proxy settings, or changing the resolution of your avid on the fly.  For offline, I just suggest working with the title tool while switched to 1080p.  When you are ready to output you can switch to 4k and the scaling is minimal.  Fact of the matter is that most of your clients won't notice the titles are scaled 1080p, and the ones that do are probably having custom graphics made anyway.

Just a thought.

Dave Hogan
Burbank, CA


On Friday, May 6, 2016 10:40 PM, "Mike Parsons mikeparsons.tv@gmail.com [Avid-L2]" <Avid-L2@yahoogroups.com> wrote:


 
Me? I'm the bad guy?

Almost forgot everything is always my fault:)

I still miss the chyron 4 so don't pick on me:)

Sent from my iPhone

On May 7, 2016, at 11:05 AM, John Moore bigfish@pacbell.net [Avid-L2] <Avid-L2@yahoogroups.com> wrote:

 
Okay I'm willing to learn new things when needed but I find the loss of the Title Tool in 4K just Fing stupid.  I don't care how lame title tool is, the point is it works for what it has been used for for decades.  Please someone correct me if I'm wrong given my novice status on New Blue but it appears I can no longer recreate titles in a sequence like I'm use to. The lack of an auto promotion for a sequence like you could do with Marquee is really a pain.  Do I really have to highlight all the titles while in effects mode and then click the promote option in the tools menu?  At that point can I choose Recreate Titles from in to out like I'm use to?

When I promoted a slate and a main title slug the slate worked but the main title slug was a little over 15 seconds but the new blue title interface only created 3 seconds of title timeline so the title just faded out and disappeared after 3 seconds in the timeline.  I found the duration command but even when creating a brand new New Blue title is still defaulted to only 3 seconds in the New Blue Timeline.  Is this some sort of preference that a new title takes on characteristics of the previously recreated title?  I can't imagine why when I place a brand new New Blue Title Effect into the timeline with a duration of 15:18 it opens up with "enter text" but it only lasts 3 seconds.  When I save the title by closing the box it says it renders but nothing appears in a bin anywhere so it seems the only way to reuse a title is by hole down Cmd/Ctrl while save the effect to a bin to save it with source.  Even after doing that I'm thinking it's going to keep the timeline characteristic's of the original effect so that would mean I'd have to go in a tweak that instead of just cutting in the same title in a new place like I'm use to.

Look I get that it's a more powerful tool but it doesn't appear to work much like the existing Title Tool on my admittedly limited start with it.  Bottom line is it seems a very different beast and it doesn't seem like it is going to work anything like the Title Tool has for decades.  I really don't understand if they were able to migrate the title tool to HD now we are just going to something 4 times bigger.  Okay for True 4K is a bit more than 4 times bigger but come on this is a basic core part of the software that people have grown accustomed too for decades.  I haven't had the need to work in a True 2K project yet does the title tool work in those projects?

I can't imagine it would cost anywhere near 6 million dollars to update the title tool to work in 4K.  Let's see I wonder where Avid might be wasting 6 million dollars that could be better spent on keeping the Avid product viable in a 4K world.  I know there was something I read about 6 million bucks and Avid.  Oh what could it be?  It's on the tip of my tongue but I just can't remember what it was.  Hey wait there's a rerun of the Six Million Dollar Man on Antenna TV right now.  Always loved that show.  Yeah the 6 million dollar sound effect is soooo great and brings back such memories.  Oh what was I talking about?

See Mike P.  some of us are very open minded we can complain about the old title tool and it's supposed replacement the New Blue Enema equally.  That's not being closed minded is it?
 
John Moore Barking Trout Productions Studio City, CA bigfish@pacbell.net


__._,_.___

Posted by: Dave Hogan <mactvman@yahoo.com>
Reply via web post Reply to sender Reply to group Start a New Topic Messages in this topic (3)
this is the Avid-L2

.

__,_._,___
There was an error in this gadget