Saturday, May 20, 2017

[Avid-L2] File - FAQ AVID-L2.txt

 


Welcome to the Avid-L2
FAQ!
AVID-L II Frequently Asked Questions (FAQ)

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Background

Avid-L was established in 1994 at Calvin College by Steven Koster.
It was created to be a forum for Avid users to meet, discuss, and share
information.

Avid-L quickly grew into the premiere on-line users group for
professional film and video editors. It was one of the earliest examples

of an Internet community, allowing hundreds of editors worldwide to
share their experiences and expertise with their peers. There was no
better place for a professional Avid editor to get such wealth of
informed professional advice.

At various times, individual subscribers volunteered services to the
group. Searchable archives were maintained by Germany's Berlin Users
Group as well as the UIUC. A tips & tricks list was posted by Andy
Birkhead of Innovative Edit. Wes Plate, a longtime contributor, not only

shared key techniques on his Web site, he also created a photo gallery
for members' portraits.

In 1997, several subscribers began a tradition of meeting in person at
the NAB trade show in Las Vegas. The first gatherings were organized by Jaime Fowler. In 1999,
Avid Technology itself began sponsoring these gatherings as an exclusive reception and seminar for Avid-L members only. In 2002, this changed to the "Avid Users Group" meeting.

By 1999, Avid-L boasted over 1600 subscribers, exhibiting a true
international scope with over 300 international members. The community
included participants from a wide variety of well-known corporate
organizations in broadcasting, technical, and content creation fields,
as well as and multiple local TV stations, colleges, and universities.

In 2000, Avid-L joined AvidProNet.com, and then, in 2002, was integrated
Into Avid.com.

In 2005 Due to problems with signal to noise ratio and abusive posters, the Avid-L2 was formed. A year later the Avid-L was discontinued by Avid.

At the middle of 2006, the L2 has around 1100 members, with plenty of "lurker only" members who simply use the web version of the list. The L2 is spam-free, by moderation and with Yahoo's tools and will remain that way. The integrated archives with both old L and L2 posts came on line recently as well at the University of Illinois. That can be found at http://archives.itg.uiuc.edu/avid/.

Cross-posting to the FCP-L is welcome, tho reply's will not flow back to either list necessarily- check your own email reply preferences. The Final Cut list is found at: http://movies.groups.yahoo.com/group/FinalCutPro-L

Welcome, and Enjoy!

Extras!
With a Yahoo account tied to your subscription to the Avid-L2, you can use the web features of the Group.

Calendar Various Avid events are in the Calender. If you have an event you'd like posted, pull down and fill out the Calendar event request and send it to any Moderator

Database - The database area contains Avid Feature requests, Help Wanted, Freelance Listings and For Sale sections. Feel free to add your listings to any of these areas. Job Postings will remain up for 1 month. Please date all postings to the database areas, being pertinent is a good way to be.

Files- The files section contains various sundry files, including the latest Avid release notes. Check back often for changes.

Photos - Pictures of your Avid setup are welcome, or pictures relating to a post you need a photo to explain. Photos will be posted after moderator approval. Who knows, your picture might grace the front page for a while.

Links- Various helpful links, including direct links to Avid CPR releases can be found here, also the link to the archives.

JDS

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Reply via web post Reply to sender Reply to group Start a New Topic Messages in this topic (336)

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Re: [Avid-L2] Level Scaling in Adobe Media Encoder from Avid QT Ref .movs?

 

I tested with Premiere and it works there, but unfortunately MediaEncoder does not accept AAF.

BG
www.finale.tv


From: "bigfish@pacbell.net [Avid-L2]" <Avid-L2@yahoogroups.com>
To: Avid-L2@yahoogroups.com
Sent: Saturday, May 20, 2017 5:25 PM
Subject: Re: [Avid-L2] Level Scaling in Adobe Media Encoder from Avid QT Ref .movs?

 
I haven't used AAFs much other than audio.  Could I AAF the sequence setting it to use referenced media, like I do with a QT Ref, and then import that into Adobe Media Encoder to then bake out XDCam50 and H_264 .movs?  I've always thought of AAF as a means to transfer sequences between differing apps but never thought of Adobe Media Encoder as an AAF compatible app.


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

Premiere appears to ignore QT flags and treats the essence as RGB full range(you can easily check this by exporting QTRefs as full/scaled from Avid and see how premiere shows both identical, whereas QT shows a clear difference in levels - and so does Avid, if you bring them back to it).
Have you considered using AAF as your shuttle between apps? At least it doesn't have the video level switch, so less guesswork I'd say.

BG
www.finale.tv


From: "John Moore bigfish@... [Avid-L2]" <Avid-L2@yahoogroups.com>
To: Yahoogroups <avid-l2@yahoogroups.com>; Yahoogroups <editing-list@yahoogroups.com>
Sent: Friday, May 19, 2017 2:52 PM
Subject: [Avid-L2] Level Scaling in Adobe Media Encoder from Avid QT Ref .movs?

 
I've posted on this topic in the past.  I've read the Avid's DNX HD Codec is different than most if not all other codecs in that it has a flag for Legal vs Full Range video essence level.  In the old Avid's it's termed 601/709 vs. RGB.  Not current Avid's use the Legal and Full Range terms.  No matter what it's called I still get issues when processing in Adobe Media Encoder with Avid exported QT Ref files.

If I use Adobe Media Encoder to bake XDCam50, H264 or ProRes files from an Avid DNX_175X QT Ref file I have to check the box in the export dialogue to RGB or Legal to Full Range depending on which version of Avid I'm running.  This will make files that are correct legal level video essence.  If I instead say stay at legal levels or 601/709 I end up with files with scaled down video essence levels.

If I use Adobe Media Encoder to do the same thing but bake out to a DNX codec the resulting file reflects the export level setting I choose.  So using Full Range Exports that I have to use for the above mention files results in a Full Range DNX file.  The fix is to export as legal level when I'm baking DNX files with AME.

I have just accepted this is how I have to work but I'm pretty sure under the hood there is some metadata flag that may be carrying through to the final files that could lead to a mis interpretation of levels by some software.  I haven't had any complaints on my delivery files but I'm curious if anyone has insight into the reason behind this.  It's as if AME wants things to be Full Range Level except when it comes to DNX codecs.  Anybody got a suggestion about what's going on?
 
John Moore Barking Trout Productions Studio City, CA bigfish@...




__._,_.___

Posted by: Bogdan Grigorescu <bogdan_grigorescu@yahoo.com>
Reply via web post Reply to sender Reply to group Start a New Topic Messages in this topic (4)

Have you tried the highest rated email app?
With 4.5 stars in iTunes, the Yahoo Mail app is the highest rated email app on the market. What are you waiting for? Now you can access all your inboxes (Gmail, Outlook, AOL and more) in one place. Never delete an email again with 1000GB of free cloud storage.

this is the Avid-L2

.

__,_._,___

Re: [Avid-L2] Level Scaling in Adobe Media Encoder from Avid QT Ref .movs?

 

I haven't used AAFs much other than audio.  Could I AAF the sequence setting it to use referenced media, like I do with a QT Ref, and then import that into Adobe Media Encoder to then bake out XDCam50 and H_264 .movs?  I've always thought of AAF as a means to transfer sequences between differing apps but never thought of Adobe Media Encoder as an AAF compatible app.



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

Premiere appears to ignore QT flags and treats the essence as RGB full range(you can easily check this by exporting QTRefs as full/scaled from Avid and see how premiere shows both identical, whereas QT shows a clear difference in levels - and so does Avid, if you bring them back to it).
Have you considered using AAF as your shuttle between apps? At least it doesn't have the video level switch, so less guesswork I'd say.

BG
www.finale.tv


From: "John Moore bigfish@... [Avid-L2]" <Avid-L2@yahoogroups.com>
To: Yahoogroups <avid-l2@yahoogroups.com>; Yahoogroups <editing-list@yahoogroups.com>
Sent: Friday, May 19, 2017 2:52 PM
Subject: [Avid-L2] Level Scaling in Adobe Media Encoder from Avid QT Ref .movs?

 
I've posted on this topic in the past.  I've read the Avid's DNX HD Codec is different than most if not all other codecs in that it has a flag for Legal vs Full Range video essence level.  In the old Avid's it's termed 601/709 vs. RGB.  Not current Avid's use the Legal and Full Range terms.  No matter what it's called I still get issues when processing in Adobe Media Encoder with Avid exported QT Ref files.

If I use Adobe Media Encoder to bake XDCam50, H264 or ProRes files from an Avid DNX_175X QT Ref file I have to check the box in the export dialogue to RGB or Legal to Full Range depending on which version of Avid I'm running.  This will make files that are correct legal level video essence.  If I instead say stay at legal levels or 601/709 I end up with files with scaled down video essence levels.

If I use Adobe Media Encoder to do the same thing but bake out to a DNX codec the resulting file reflects the export level setting I choose.  So using Full Range Exports that I have to use for the above mention files results in a Full Range DNX file.  The fix is to export as legal level when I'm baking DNX files with AME.

I have just accepted this is how I have to work but I'm pretty sure under the hood there is some metadata flag that may be carrying through to the final files that could lead to a mis interpretation of levels by some software.  I haven't had any complaints on my delivery files but I'm curious if anyone has insight into the reason behind this.  It's as if AME wants things to be Full Range Level except when it comes to DNX codecs.  Anybody got a suggestion about what's going on?
 
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 (3)

Have you tried the highest rated email app?
With 4.5 stars in iTunes, the Yahoo Mail app is the highest rated email app on the market. What are you waiting for? Now you can access all your inboxes (Gmail, Outlook, AOL and more) in one place. Never delete an email again with 1000GB of free cloud storage.

this is the Avid-L2

.

__,_._,___

[Avid-L2] SubCap advice

 

Hi guys,

Just found back something I wrote some time ago.
Not sure if all is still the same in the latest versions, but some of you might benefit from this.

Bouke

Edit 'B / VideoToolShed.com
van Oldenbarneveltstraat 33
6512 AS  Nijmegen
+31 6 21817248

Working with Avid's SubCap.


A big problem is that the SubCap effect often crops off the bottom of text.

Here is how to fix it and create decent looking subs:

Important to understand is that Avid uses a box to define the area where the subtitles need to be placed. 

If you're (like me) do NOT want to have a box visible, you STILL have to set it, and then change the opacity of the box to 0, so it won't show.


Here we go:

In this example, I was working in a 1920x1080 project. For other formats, you'll have to change the parameters of course.

If your intended output is interlaced, first switch your project to Progressive to watch full res on your client monitor. 

Some of the parameters we're going to set require you to have a sharp view! Once done, you can switch back to interlace if needed.

Drag the SubCap effect on a high V track. Have some video under it. (Watch out with AMA Linked footage, it seems to slow down editing the effect a lot!)

Start with 'caption Text'  Open the editor by clicking the triangle (if it's not open already.)

Type two lines of text, make sure you have chars in both lines it that go below the font baseline, like j, y, g, p. 

Also make sure you have a descending character right above a ascending character, so you can figure out the minimum line spacing. Something like this: 

Sample jygp text

Sample SHOT jygp



Then go to 'Text Appearance'.

Set the color to White, or slightly grey. (Yellow is UGLY IM (not so) HO.)

Set the Opacity slider to 100

Choose a font in the font pulldown menu. I like Arial Narrow, but somehow that comes up as Italic... So, use something else if you also get bitten by this. Helvetica Narrow is a good option.

Choose a Font size, Drag the 'Font Size' wheels to about 50.

Set 'Line Weight' to 0

Set 'Outline Weight' to 180 (You'll probably alter it later on.)

Switch from 'No Outline' to 'Basic Outline' if it's not already on.

Pick black for the outline color.

Select 'No Shadow'

Select 'CenterAlign' from the lowest pulldown menu. NOTE: , this is the Alignment INSIDE the box you have to set up next.


Go to 'Box Appearance'

Set color to White. (Just to make the outline very well visible, we'll hide the box later on.)

Set Opacity slider to 100

Set  the first pulldownmenu to 'One box'

Set the second pulldownmenu to 'Anchor to Bottom of text'

Set the third pulldownmenu to 'Anchor Center'

Set 'Anchor position X' to 0

Set 'Anchor position Y' so the text shows in the bottom. Not too low, especially if you need to be compatible with standard def. (Keep safe title area in mind!)

Set 'Extend X & Y' to 999

Set the fourth pulldownmenu to 'Fixed Width' , and the slider below to 1760 or something. (This makes setting left / center / right align in the 'Text Appearance' easier. Crop or Wrap does not really make a difference, since you probably won't (well, never should) exceed the line width.)

Set the fifth pulldownmenu to 'As many rows as needed' (This is important, if you don't set it, titles will NOT be set to the bottom by itself. Remember, subtitles are normally bottom aligned.)

Drag the 'Padding' wheels for both Vertical and Horizontal to about 20, to make sure you can see the outline and potential cropping problems.

Drag the 'Row Spacing' wheel up, as far as you need to get rid of the cropping. (Even further if you want more line spacing of course.)


Almost there...

Go back to  'Text Appearance'.

Carefully drag the 'outline Weight' wheel around. You'll see that at some values, the outline is  thicker on either the left or the right side of the text. This is of course unacceptable.

It seems to have to do with the total width of a line. (Meaning, in one line it happens, on another line it does not.) Test it by typing some more and carefully watch on your client monitor. The bug appears and disappears...

Drag to a value where you like the outline, and fiddle around so it has the same thickness 

In my example, 200 works for me.

When satisfied, go back to Box Appearance'.

Drag the 'Opacity' slider to 0 to get rid of the box.

This is how a decent subtitle looks like.


Now, import a subtitle file.

To set all values to all titles, you probably need to alter the Global Properties.

Click on the 'Edit Global Properties' box. (It looks like a checkbox, but is in fact a button.)

Then go to the ' ' tab, and set all values to either 'track' or 'sequence'


There is one exception: 

On (opening) credits or lower thirds, you might want to move the subtitles to the top of the screen, and if so, you want the subs to be top aligned, instead of bottom aligned.

So, you need to move a couple of subs to the top, after setting all to the same looks, go back to Global Properties, 


Text or STL?

Subcap can import both Text and EBU STL (Not to be confused with Spruce STL.)

There is little difference in working with either one of them.

Advantages of Text:

The files to import are human readable, and you can edit them with any text editor. They are also way more error proof when it comes to special characters.

Subcap text should be UTF-16le, but UTF-8 (with the correct BOM set) also seems to work.

Gotcha: in a 59.94 fps project, Avid EXPORTS subCap text with TC's where the frame numbers reflect the high TC values, but does NOT like that on input!

So, you cannot roundtrip easily with this with a text editor only. (Although Subbits understands this, and will output an Avid readable file.)


Advantages of STL.

AFAIK, none when it comes to SubCap.

STL contains vertical position information, as well as alignment. (Left, center, right.) And it supports font styles (normal, italic, bold etc.) 

However, Avid does not honour that.

Then, due to historical reasons, STL has become a bastard format with lots of dialects.

It may very well happen that you'll end up with wrong characters in your text. Bottom line, if you can avoid STL, do so.




__._,_.___

Posted by: Bouke <bouke@editb.nl>
Reply via web post Reply to sender Reply to group Start a New Topic Messages in this topic (1)

Have you tried the highest rated email app?
With 4.5 stars in iTunes, the Yahoo Mail app is the highest rated email app on the market. What are you waiting for? Now you can access all your inboxes (Gmail, Outlook, AOL and more) in one place. Never delete an email again with 1000GB of free cloud storage.

this is the Avid-L2

.

__,_._,___

Friday, May 19, 2017

Re: [Avid-L2] Level Scaling in Adobe Media Encoder from Avid QT Ref .movs?

 

Premiere appears to ignore QT flags and treats the essence as RGB full range(you can easily check this by exporting QTRefs as full/scaled from Avid and see how premiere shows both identical, whereas QT shows a clear difference in levels - and so does Avid, if you bring them back to it).
Have you considered using AAF as your shuttle between apps? At least it doesn't have the video level switch, so less guesswork I'd say.

BG
www.finale.tv


From: "John Moore bigfish@pacbell.net [Avid-L2]" <Avid-L2@yahoogroups.com>
To: Yahoogroups <avid-l2@yahoogroups.com>; Yahoogroups <editing-list@yahoogroups.com>
Sent: Friday, May 19, 2017 2:52 PM
Subject: [Avid-L2] Level Scaling in Adobe Media Encoder from Avid QT Ref .movs?

 
I've posted on this topic in the past.  I've read the Avid's DNX HD Codec is different than most if not all other codecs in that it has a flag for Legal vs Full Range video essence level.  In the old Avid's it's termed 601/709 vs. RGB.  Not current Avid's use the Legal and Full Range terms.  No matter what it's called I still get issues when processing in Adobe Media Encoder with Avid exported QT Ref files.

If I use Adobe Media Encoder to bake XDCam50, H264 or ProRes files from an Avid DNX_175X QT Ref file I have to check the box in the export dialogue to RGB or Legal to Full Range depending on which version of Avid I'm running.  This will make files that are correct legal level video essence.  If I instead say stay at legal levels or 601/709 I end up with files with scaled down video essence levels.

If I use Adobe Media Encoder to do the same thing but bake out to a DNX codec the resulting file reflects the export level setting I choose.  So using Full Range Exports that I have to use for the above mention files results in a Full Range DNX file.  The fix is to export as legal level when I'm baking DNX files with AME.

I have just accepted this is how I have to work but I'm pretty sure under the hood there is some metadata flag that may be carrying through to the final files that could lead to a mis interpretation of levels by some software.  I haven't had any complaints on my delivery files but I'm curious if anyone has insight into the reason behind this.  It's as if AME wants things to be Full Range Level except when it comes to DNX codecs.  Anybody got a suggestion about what's going on?
 
John Moore Barking Trout Productions Studio City, CA bigfish@pacbell.net


__._,_.___

Posted by: Bogdan Grigorescu <bogdan_grigorescu@yahoo.com>
Reply via web post Reply to sender Reply to group Start a New Topic Messages in this topic (2)

Have you tried the highest rated email app?
With 4.5 stars in iTunes, the Yahoo Mail app is the highest rated email app on the market. What are you waiting for? Now you can access all your inboxes (Gmail, Outlook, AOL and more) in one place. Never delete an email again with 1000GB of free cloud storage.

this is the Avid-L2

.

__,_._,___

[Avid-L2] Level Scaling in Adobe Media Encoder from Avid QT Ref .movs?

 

I've posted on this topic in the past.  I've read the Avid's DNX HD Codec is different than most if not all other codecs in that it has a flag for Legal vs Full Range video essence level.  In the old Avid's it's termed 601/709 vs. RGB.  Not current Avid's use the Legal and Full Range terms.  No matter what it's called I still get issues when processing in Adobe Media Encoder with Avid exported QT Ref files.

If I use Adobe Media Encoder to bake XDCam50, H264 or ProRes files from an Avid DNX_175X QT Ref file I have to check the box in the export dialogue to RGB or Legal to Full Range depending on which version of Avid I'm running.  This will make files that are correct legal level video essence.  If I instead say stay at legal levels or 601/709 I end up with files with scaled down video essence levels.

If I use Adobe Media Encoder to do the same thing but bake out to a DNX codec the resulting file reflects the export level setting I choose.  So using Full Range Exports that I have to use for the above mention files results in a Full Range DNX file.  The fix is to export as legal level when I'm baking DNX files with AME.

I have just accepted this is how I have to work but I'm pretty sure under the hood there is some metadata flag that may be carrying through to the final files that could lead to a mis interpretation of levels by some software.  I haven't had any complaints on my delivery files but I'm curious if anyone has insight into the reason behind this.  It's as if AME wants things to be Full Range Level except when it comes to DNX codecs.  Anybody got a suggestion about what's going on?
 
John Moore Barking Trout Productions Studio City, CA bigfish@pacbell.net

__._,_.___

Posted by: John Moore <bigfish@pacbell.net>
Reply via web post Reply to sender Reply to group Start a New Topic Messages in this topic (1)

Have you tried the highest rated email app?
With 4.5 stars in iTunes, the Yahoo Mail app is the highest rated email app on the market. What are you waiting for? Now you can access all your inboxes (Gmail, Outlook, AOL and more) in one place. Never delete an email again with 1000GB of free cloud storage.

this is the Avid-L2

.

__,_._,___

Re: [Avid-L2] Is UTF8 bug fixed in subtitles fixed?

 



Hmm.
Just did an export from Avid, and it seems Avid exports your Japanese as UTF 16 le  :-)
 
Bouke
 
VideoToolShed
van Oldenbarneveltstraat 33
6512 AS  NIJMEGEN, the Netherlands
if you want to send me big files, use this:
www.videotoolshed.wetransfer.com
----- Original Message -----
Sent: Friday, May 19, 2017 12:12 PM
Subject: Re: [Avid-L2] Is UTF8 bug fixed in subtitles fixed?

 

Hi Bouke,

The comment wasn't aimed _solely_ at you :-)

I've tried yours, and several others. My translators are all pretty low
tech, but I set them up with a simple audio app that can show NDF
timecode as it's time counter, and just send them the audio via ftp.
They type in a line of translation, with the start and end marked with
the timecode numbers. They don't have to mess with colons or anything --
I run a little script on their text files that formats it all for the
subcap effect (.txt, not STL)

That imports immediately into the subcap effect. I step through the
program, only need to tweak a handful of subtitles, and I'm done.

Anyway, I appreciate your offer to text a subtitle file on a current
Avid. The bug is that the subcap can't use UTF8, so all the double-byte
wide characters get broken into their single byte components --
resulting in an unreadable mess.

Tim

On 2017/05/19 18:56, Bouke / VideoToolShed wrote:
>> On 19 May 2017, at 01:18, Tim Selander selander@tkf.att.ne.jp
>> <mailto:selander@tkf.att.ne.jp> [Avid-L2] <Avid-L2@yahoogroups.com
>> <mailto:Avid-L2@yahoogroups.com>> wrote:
>>
>> Even though I upgraded our licenses back the last time there was a 'no
>> more update' deadline on Media Composer, we're still using 5.5 and 6
>> because of the bug in the subtitle filter/generator in newer versions
>> that chokes on UTF8/Japanese. Is that a Mac only problem?
>>
> I vaguely remember something. What was the bug again?
>
> I know for sure that an ALE has problems with UTF-8 and Hebrew, it has
> to be in Windows-1255, perhaps something like that applies here too?
> (If the coder uses the same routine to parse the text…)
> That would be an easy conversion. (Once we've figured out what charset
> to use…)
> I'm happy to toy around here, if you have an example file for me. (And
> an image on how it 'should' look like, I'm not that fluent in Japanese.)
>
>> Has that bug been fixed yet? I'd download the trial and see, but don't
>> have a machine running the OS the new versions of MC need... we're stuck
>> in the past of OSX 10.7.
>>
>> Any info appreciated. (Except recommending another subtitling software.
>>
> I take it that was aimed at me :-)
> But since you already have 'something' that generates the TXT files,
> isn't STL an option then?
> (Granted, STL has problems of it's own…)
>
> Or, I'm pretty sure SubCap is a simple plugin. Can't you use the
> Subcap effect from a version that does not have this bug?
> (But probably has another bug, I hate SubCap)
> This would involve a little hacking though...
> I must admit, I have no idea where it could be located on your system.
> Only Mac version I have is 8.4.1, and I can't locate any subcap plugin
> in there, although it does appear as effect…
> (I've searched the .app's contents, but it's not clearly visible
> there, but perhaps Avid techs can help you here.)
>
> Bouke
>
> VideoToolShed.com <http://VideoToolShed.com>
> van Oldenbarneveltstraat 33
> 6512 AS Nijmegen
> +31 6 21817248
> To send files, go here:
> https://videotoolshed.wetransfer.com/
>
>> Have tried a bunch and nothing is as fast and as smooth as our workflow
>> using Avid's admittedly limited subtitle feature.)
>>
>> Tim Selander
>> Tokyo, Japan
>>
>>
>

----------

<begin subtitles>

00:02:34:17 00:02:36:12
前回の放送では

00:02:36:12 00:02:39:18
神様があなたを見たら
神様はあなたを裁きの目で見ません

00:02:39:18 00:02:44:00
神様は憐れみと愛の目で見るんです

00:02:44:00 00:02:46:16
今日のジョゼフ・プリンス牧師

00:02:46:16 00:02:52:05
そこである時 私は約束の箱がどこにあるのか
とても気になった人のうちの1人だったんです 

00:02:52:05 00:02:55:05
私はそれについて本を読んで 本を買って

00:02:55:05 00:03:00:13
ナショジオのドキュメンタリーでこの王の何かが
何やらというのを見て でもそれは時間の無駄なんです

00:03:00:13 00:03:03:22
それだけ言っておきましょう
なぜなら本物の約束の箱が来たからです

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