[Avid-L2] Dynamic Media Folders (DMF) on Mac

My story is titled:

"No Fun with Dynamic Media Folders"

Let me begin with a short rant:

All I have to do is teach this feature and, over the years, without fail, I always have problems, and cannot produce a demonstration that works as advertised. Does anyone actually use this on a production?

SYSTEM: 

- Mojave 10.14.6 on 2018 MBP; 32GB RAM 

- MC: 2021.2.0

BACKGROUND: 

- Source files: .mov (H264).

- Issues (detailed below) occur whether set to UME or Autodetect. 

- I've tried with a New User and a New Project. 

- I've tried recreating the DMF Profile multiple times. 

- Profiles tested: 

a) Copy, then Transcode to DNxHD LB 

b) Copy, then Transcode to ProRes Proxy 

c) Copy only

ISSUES + EXAMPLE CONSOLE MESSAGES:

1.

From Friday 2/26 — Before upgrading from 2020.12 to 2021.2:

ISSUE: Profile is set to Copy and then Transcode to DNxHD LB.  It would copy 5 files and then fail (Red Circle Icon) on the Transcode to DNxHD LB; sample error message below:

------------------------- Start DMF -------------------------

Feb 26, 2021 4:02:26 PM(18)SEVERE: Failed to setup chained feature toggle from /AvidMediaEngine/AMPPlugin/Enable_DNx to /AMPPlugin/Enable_DNx. Second toggle is not registered. com.avid.dmfservice.WSLoggerResource:putXML

------------------------- End DMF -------------------------

2.

From Saturday 2/27 — After upgrading to 2021.2:

ISSUE: Profile is set to Copy only. Over multiple attempts it has varied from copying between 0 and 2 files out of 5 before stopping entirely (Red Circle Icon). Three different messages are created per file (below): 

------------------------- Start DMF -------------------------

Feb 27, 2021 5:40:48 PM(57)SEVERE: Exception deserializing xml: null com.avid.dmfengine.natives.appdata.ExtractAAFFromFileResponse:JAXBDeserialize

Feb 27, 2021 5:40:48 PM(58)SEVERE: IOException encountered when creating socket to native code service, ex: java.net.ConnectException: Connection refused (Connection refused) com.avid.dmfengine.natives.oop.SocketClient:initSocket

Feb 27, 2021 5:40:48 PM(58)SEVERE: Error creating socket to native code service, unable to call native code! com.avid.dmfengine.natives.oop.SocketClient:initSocket

------------------------- End DMF ————————————  

Re: [Avid-L2] Consensus on MC 2021.2?

Same for Catalina 10.15.7, and the possibility of going to Big Sur with 2021.2. ?

-Roberto 

On Feb 27, 2021, at 8:10 AM, David Dodson <davaldod@gmail.com> wrote:

I *want* to install 2021.2, but I'm hesitant. What's the current scuttlebutt? Is it solid Is it buggy? Anyone have a feel for how it's going?

(I'm on OS 10.14.6)

Many thanks,

DD

David Dodson

davaldod@gmail.com

[Avid-L2] Consensus on MC 2021.2?

I *want* to install 2021.2, but I'm hesitant. What's the current scuttlebutt? Is it solid Is it buggy? Anyone have a feel for how it's going?

(I'm on OS 10.14.6)

Many thanks,

DD

David Dodson

davaldod@gmail.com

Re: [Avid-L2] OT: Microsoft Remote Desktop 10 for Mac?

Had some help offlist and then I got lucky on a google.  I have no idea why the download doesn't work for me or my daughter off the app store but this did:

210223 Microsoft_Remote_Desktop_10.5.1_installer web site:

 

Go to this site:

 

Microsoft Remote Desktop for Mac. Download Free [Latest Version] macOS

 

Microsoft Remote Desktop for Mac. Download Free [Latest Version] macOS Microsoft Remote Desktop 10.5.1 - Connect to Windows machines. Download the latest versions of the best Mac apps...

 

 

 

Main Web Site:

 

 

 

Click on Download here:

 

 

Then Click Download without scan:

 

 

 

This will give you an installer that worked for me.

 

_._,_._,_

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[Avid-L2] OT: Microsoft Remote Desktop 10 for Mac?

I'm trying to help my daughter at University of Maryland where one of her classes is requiring Microsoft Remote Desktop 10.  This appears to be only available on the apple app store.  I don't see a listing for Microsoft Remote Desktop 10 but I do see one for Microsoft Remote Desktop.  Both my daughter and I can't seem to download the software/app.  At first it said get and I clicked and a progress circle but I didn't find anything in the applications or utilities folder.  My late 2013 iMac is running 10.14.6 and I found an old remote desktop client program that will launch but when I try to update it I get a message the server can't be found.

After hitting get the first time now the icon is a cloud with  down arrow.  I hit that and a progress circle animation starts and goes for 20 to 30 seconds then it turns back to the cloud icon.  No error messages.  I don't see an app in the applications folder or through searching the computer.  This is happening on my daughter's macbook pro 13 inch OS 10.14.6 also. 

She's contacting campus tech support but I'm curious what's going on here.  I've never used this software but it seems there is some glitch in downloading it.  Can anybody shed some light on how it works.  From the document my daughter sent when the program starts it pops up with a window for a contact url or some sort of address number to log into the remote PC environment.  Problem is we can't seem to get or find the software.  It seems even though there is a version history of the app there is no access to legacy versions to try and download them.  What am I missing?  I feel like I'm getting Jobbed in a big bad way here.

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

Re: [Avid-L2] Load Clip Shortcut

And be careful - option-x will 'cut' that bit from the sequence and load into Source.

On Tue, Feb 23, 2021 at 1:43 PM C. Hess <cfh3media@gmail.com> wrote:

Yes, thank you!!!

On Feb 23, 2021, at 12:38 PM, Mark Spano <cutandcover@gmail.com> wrote:

Should be option-c?

On Tue, Feb 23, 2021 at 1:33 PM C. Hess <cfh3media@gmail.com> wrote:

Been away from MC awhile, and have totally forgotten a great shortcut.

It involves marking a section in the timeline

and being able to load that into the source monitor.

I recall using the option key, in addition to a stroke I cannot recall.

Ideas…?

Chip Hess
CFH3 Media

Chip Hess
CFH3 Media
312-806-3840

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Re: [Avid-L2] Load Clip Shortcut

Yes, thank you!!!

On Feb 23, 2021, at 12:38 PM, Mark Spano <cutandcover@gmail.com> wrote:

Should be option-c?

On Tue, Feb 23, 2021 at 1:33 PM C. Hess <cfh3media@gmail.com> wrote:

Been away from MC awhile, and have totally forgotten a great shortcut.

It involves marking a section in the timeline

and being able to load that into the source monitor.

I recall using the option key, in addition to a stroke I cannot recall.

Ideas…?

Chip Hess
CFH3 Media

Chip Hess
CFH3 Media
312-806-3840

Re: [Avid-L2] Load Clip Shortcut

Should be option-c?

On Tue, Feb 23, 2021 at 1:33 PM C. Hess <cfh3media@gmail.com> wrote:

Been away from MC awhile, and have totally forgotten a great shortcut.

It involves marking a section in the timeline

and being able to load that into the source monitor.

I recall using the option key, in addition to a stroke I cannot recall.

Ideas…?

Chip Hess
CFH3 Media

_._,_._,_

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[Avid-L2] Load Clip Shortcut

Been away from MC awhile, and have totally forgotten a great shortcut.

It involves marking a section in the timeline

and being able to load that into the source monitor.

I recall using the option key, in addition to a stroke I cannot recall.

Ideas…?

Chip Hess
CFH3 Media

Re: [Avid-L2] IMF DolbyVision Metadata version mismatch in Resolve?

Please see my comments below:

On Feb 22, 2021, at 3:38 PM, John Moore <bigfish@pacbell.net> wrote:

From the CPL in the imf the version that created the IMF:
<Creator>Blackmagic Design DaVinci Resolve Studio 16.2.5.015</Creator>

I would not be surprised if that bug was fixed since that version. 

I am using Resolve Studio 16.2.7.  I'm milking the life out of my Nvidia 980Ti and two TitanX GPUs but the end is near with compatibility issues.

I understand. I believe your limitation is the compatibility between your Mac OS and the nVidia cards (Metal vs CUDA)

Per your info the timeline color setting tell Resolve's controls what to expect for tonal ranges.  In HDR class the instructor's company ColourLab has an HDR plugin that you put on as a timeline node and it will take a Rec 709 timeline and content map it to various HDR outputs.  This keeps the lift, gamma, gain behaving in a more natural way for the operator. 

I am familiar with ColourLab plugin (Dado Valentic's child) but you don't have to use it in order to take advantage of the many color management workflows in Resolve.

I need to find a flow chart of exactly how Resolve handles the various levels and conversions so I can play along better.  I know it attempts to map everything to full range and then limits the output based on codec or a manual setting of Data vs. Video a.k.a Full Range vs. Legal.  I have found that in Auto Clip attribute Resolve sometimes makes some wrong choices.

In HDR it is always Full data levels, ideally 12-bits. If you are talking about the settings of Data levels: Auto in the DELIVERY page, what you may have encountered are issues with different file formats / codecs. Tagging is not always done correctly, ProRes being a notorious example.

What would be the proper way to choose a timeline setting? 

To me it all depends on the project workflow (from production to post) and obviously the type of shows / programs you are working with. The cameras also might impact your choice. Your delivery requirements will also be important to know before hand. Depending on your editing path to finishing, if you are doing a roundtrip from AVID or if you are finishing in Resolve will also impact your choice.

I would assume you would pick the most common media in the timeline but then there must be a battle between a show shot in V-log and you get Rec 709 Graphics.

Working with LOG format, I would strongly consider an ACES workflow, especially if you have all the cameras IDT available (most professional cameras do). From editing (dailies/offline) to color grading, it might bring you closer to the finishing quicker if well implemented.

It's all these little steps that I'm trying to understand better so I can better trouble shoot issues that come up.

If you just need to troubleshoot a master in DaVinci Resolve, I would setup a simple display referred workflow using DaVinci YRGB Color science. Make sure the input color space for the master file (in the MEDIA page) is correct. Same for your output color space/gamma (your timeline), and match the settings to your reference monitor.Then you should be set to check your master. In that scenario I would not use a Color managed workflow (scene referred).

I'm just tinkering with this project and I got an HDR class    from FxPHD that I'm going to get into.  Hopefully it will dislodge some of the tar built up in my ears.  It's tough  being an Dinosaur who feels more comfortable with SCH and a V1 pulse than the endless format chasing in today's world.  Oh well gotta grow or go.

I agree with you… learning is the way to go!

David Baud

Colorist & Finishing Editor

david at kosmos-productions.com

Hi John,

 

Let me try to answer some of your questions.

First do you know which version of DaVinci Resolve they used for outputting the IMF you are having some issues with?

 

My responses below in the text:

 

On Feb 20, 2021, at 11:25 PM, John Moore <bigfish@pacbell.net> wrote:

 I am running with separate color space and gamma checked because during my HDR IMF onboarding for Netflix without that checked and set to P3 and ST 2084 1000 Nits I would end up with approx half video level when exporting an IMF. 

 

Again which version of Resolve are we talking about?

 

Netflix Tech support gave me a tutorial video that showed I need to use separate color space and gamma to overcome what appears to be a bug in Resolve.  Here is a link Netflix Tech gave me to guide in setting up the project.  Here is a video

 

In the video I see version 15! By the end of February, version 17 should become official, but so far I found the beta version stable. Just to let you know, BMD has made great progress in the implementation of Dolby Vison HDR since v15.

I'm not sure when separating the color space and gamma what difference setting the gamma to 2084 or 2084 1000 Nits does.

 

For Dolby Vision HDR, regarding the gamma, your are concerned with PQ settings (defined by ST2084). You should match the intended output (your maximum luminance display). Usually 1,000 nits or higher. (i.e ST2084 1000 nits) When grading for Dolby Vision HDR you have to define your maximum luminance output. It will be encoded in the metadata, along with any other trims that are required for your delivery.  Usually the studios will have specific specs that they want you to follow.

I see no change in output to my HDR LG OLED and my Target Display PVM-2541 Sony.

 

When working on a Dolby Vision HDR program, you need to make sure to match your Resolve settings with your display settings. If your display is set to receive a BT 2020 ST 2084 @ 1000 nits video signal, make sure your Resolve Color Management project settings is set to the same. If your display is set for P3 D65 and Resolve settings is set to Rec. 2020, you will have a mismatch.

I'm not really clear on what setting the timeline color space and gamma does to the actual video essence.

Is it correct that setting the timeline color space and gamma tell the rest of the Resolve color path how to transform the signal to other target color spaces and gamma.  If I see no change when togging from gamma 2084 to 2084-1000 Nits is that because there are no color transforms in the rest of the food chain?  At it's core I'm wondering what setting the timeline color space and gamma does to image processing.

 

In Resolve, if you choose to work in DaVinci YRGB Color Managed workflow (scene referred) the timeline color space can be set differently than your output color space. You may choose to do so for different reasons. Following I believe are the main reasons:

 

. Down the road, you may want to make different masters with different color spaces. If your timeline is set with a wider color space than your output you will be able to take advantage of a wider palette without having to redo your color grading for future delivery. You just switch to your desired color output and create your new master.

 

. From a colorist point of view, and depending on the control surface you are using, some color spaces will feel more natural to manipulate when using some of the Resolve tools. A good example is when working in ACES color encoding. You will notice that your lift-gamma-gain tools are responding quite differently than when working in a Rec. 709 workspace. With version 17, Resolve introduced a new option "use color space aware grading tools" to help compensate for that different experience grading in a wide ranges of color spaces.

 

When working in a scene referred color management workflow (a.k.a Color Science = DaVinci YRGB Color Managed) changing the timeline color space will not affect the color space output. It will just change your experience in grading footage.

 

When working in a display referred color management workflow (DaVinci YRGB color science) , essentially your display and timeline color space are the same, so whatever you select there will be the same and affect your timeline and output.

 

Attached is a screen grab of the color management settings of a Dolby Vision HDR project I was involved. This is with version Resolve version 17 beta 8.

 

I hope this help,

 

David Baud

Colorist & Finishing Editor

david at kosmos-productions.com

 

 

 

 

Re: [Avid-L2] MC 2018 BINS keep corrupting

https://esd.avid.com/ProductList.aspx

On 23/02/2021 10:57, Paul Darrigo wrote:

Hi Marianna

Where can we download the patch for 2019.12.1?

Thanks

Paul Darrigo
CHULA - Citizens for a Humane Los Angeles
https://www.facebook.com/groups/773416409436730/
323-244-8020

On Tuesday, February 23, 2021, 7:04:02 AM PST, Marianna <marianna.montague@avid.com> wrote:

I verified the bin fix  is in MC 2019.12.1 and higher as well as MC 2020. 4 and higher

 

Marianna

 

Marianna Montague
Sr. Director, Customer Success Management 
Customer Experience & Customer Success
Avid - Remote
marianna.montague@avid.com 
t +1 (978) 640-5215   |  m +1 (813) 493-6800 

 

Re: [Avid-L2] MC 2018 BINS keep corrupting

Hi Marianna

Where can we download the patch for 2019.12.1?

Thanks

Paul Darrigo
CHULA - Citizens for a Humane Los Angeles
https://www.facebook.com/groups/773416409436730/
323-244-8020

On Tuesday, February 23, 2021, 7:04:02 AM PST, Marianna <marianna.montague@avid.com> wrote:

I verified the bin fix  is in MC 2019.12.1 and higher as well as MC 2020. 4 and higher

 

Marianna

 

Marianna Montague
Sr. Director, Customer Success Management 
Customer Experience & Customer Success
Avid - Remote
marianna.montague@avid.com 
t +1 (978) 640-5215   |  m +1 (813) 493-6800 

 

Re: [Avid-L2] MC 2018 BINS keep corrupting

I verified the bin fix  is in MC 2019.12.1 and higher as well as MC 2020. 4 and higher

 

Marianna

 

Marianna Montague
Sr. Director, Customer Success Management 
Customer Experience & Customer Success
Avid - Remote
marianna.montague@avid.com 
t +1 (978) 640-5215   |  m +1 (813) 493-6800 

 

Re: [Avid-L2] MC 2018 BINS keep corrupting

Thanks Tommy, I will suggest it to the editor  and advise

Paul Darrigo
CHULA - Citizens for a Humane Los Angeles
https://www.facebook.com/groups/773416409436730/
323-244-8020

On Monday, February 22, 2021, 10:35:39 AM PST, Tommy D. M. Pham via groups.io <forshurz=yahoo.com@groups.io> wrote:

I would upgrade to a later version, like 2019.12.1 as there is a bug with opening bins:

• Bug Number: MCCET-3421. In some instances, the bin would hang or crash when trying to open the bin.

On Feb 22, 2021, at 10:14 AM, Paul Darrigo <fedguy2@pacbell.net> wrote:

Avid ver: 2019.12.0

OS ver: Mojave 10.14.6

Project is located on the Internal drive

Paul Darrigo
CHULA - Citizens for a Humane Los Angeles
https://www.facebook.com/groups/773416409436730/
323-244-8020

On Monday, February 22, 2021, 9:09:59 AM PST, Tommy D. M. Pham via groups.io <forshurz=yahoo.com@groups.io> wrote:

What's the exact version you're running and where is your project located?

On Feb 22, 2021, at 6:41 AM, Paul Darrigo <fedguy2@pacbell.net> wrote:

Hi All

We have a project with a Mac Laptop, media on an external drive, .mxf files.. The Bins keep corrupting.   Anyone run into this?

Thanks,

Paul Darrigo
CHULA - Citizens for a Humane Los Angeles
https://www.facebook.com/groups/773416409436730/
323-244-8020

Re: [Avid-L2] IMF DolbyVision Metadata version mismatch in Resolve?

Thanks for the info.
From the CPL in the imf the version that created the IMF:
<Creator>Blackmagic Design DaVinci Resolve Studio 16.2.5.015</Creator>


I am using Resolve Studio 16.2.7.  I'm milking the life out of my Nvidia 980Ti and two TitanX GPUs but the end is near with compatibility issues.

Per your info the timeline color setting tell Resolve's controls what to expect for tonal ranges.  In HDR class the instructor's company ColourLab has an HDR plugin that you put on as a timeline node and it will take a Rec 709 timeline and content map it to various HDR outputs.  This keeps the lift, gamma, gain behaving in a more natural way for the operator.  I need to find a flow chart of exactly how Resolve handles the various levels and conversions so I can play along better.  I know it attempts to map everything to full range and then limits the output based on codec or a manual setting of Data vs. Video a.k.a Full Range vs. Legal.  I have found that in Auto Clip attribute Resolve sometimes makes some wrong choices.

What would be the proper way to choose a timeline setting?  I would assume you would pick the most common media in the timeline but then there must be a battle between a show shot in V-log and you get Rec 709 Graphics.  It's all these little steps that I'm trying to understand better so I can better trouble shoot issues that come up.  I'm just tinkering with this project and I got an HDR class    from FxPHD that I'm going to get into.  Hopefully it will dislodge some of the tar built up in my ears.  It's tough  being an Dinosaur who feels more comfortable with SCH and a V1 pulse than the endless format chasing in today's world.  Oh well gotta grow or go.



On Sun, Feb 21, 2021 at 10:26 PM, David Baud wrote:

Hi John,

 

Let me try to answer some of your questions.

First do you know which version of DaVinci Resolve they used for outputting the IMF you are having some issues with?

 

My responses below in the text:

 

On Feb 20, 2021, at 11:25 PM, John Moore <bigfish@pacbell.net> wrote:

 I am running with separate color space and gamma checked because during my HDR IMF onboarding for Netflix without that checked and set to P3 and ST 2084 1000 Nits I would end up with approx half video level when exporting an IMF. 

 

Again which version of Resolve are we talking about?

 

Netflix Tech support gave me a tutorial video that showed I need to use separate color space and gamma to overcome what appears to be a bug in Resolve.  Here is a link Netflix Tech gave me to guide in setting up the project.  Here is a video

 

In the video I see version 15! By the end of February, version 17 should become official, but so far I found the beta version stable. Just to let you know, BMD has made great progress in the implementation of Dolby Vison HDR since v15.

I'm not sure when separating the color space and gamma what difference setting the gamma to 2084 or 2084 1000 Nits does.

 

For Dolby Vision HDR, regarding the gamma, your are concerned with PQ settings (defined by ST2084). You should match the intended output (your maximum luminance display). Usually 1,000 nits or higher. (i.e ST2084 1000 nits) When grading for Dolby Vision HDR you have to define your maximum luminance output. It will be encoded in the metadata, along with any other trims that are required for your delivery.  Usually the studios will have specific specs that they want you to follow.

I see no change in output to my HDR LG OLED and my Target Display PVM-2541 Sony.

 

When working on a Dolby Vision HDR program, you need to make sure to match your Resolve settings with your display settings. If your display is set to receive a BT 2020 ST 2084 @ 1000 nits video signal, make sure your Resolve Color Management project settings is set to the same. If your display is set for P3 D65 and Resolve settings is set to Rec. 2020, you will have a mismatch.

I'm not really clear on what setting the timeline color space and gamma does to the actual video essence.

Is it correct that setting the timeline color space and gamma tell the rest of the Resolve color path how to transform the signal to other target color spaces and gamma.  If I see no change when togging from gamma 2084 to 2084-1000 Nits is that because there are no color transforms in the rest of the food chain?  At it's core I'm wondering what setting the timeline color space and gamma does to image processing.

 

In Resolve, if you choose to work in DaVinci YRGB Color Managed workflow (scene referred) the timeline color space can be set differently than your output color space. You may choose to do so for different reasons. Following I believe are the main reasons:

 

. Down the road, you may want to make different masters with different color spaces. If your timeline is set with a wider color space than your output you will be able to take advantage of a wider palette without having to redo your color grading for future delivery. You just switch to your desired color output and create your new master.

 

. From a colorist point of view, and depending on the control surface you are using, some color spaces will feel more natural to manipulate when using some of the Resolve tools. A good example is when working in ACES color encoding. You will notice that your lift-gamma-gain tools are responding quite differently than when working in a Rec. 709 workspace. With version 17, Resolve introduced a new option “use color space aware grading tools” to help compensate for that different experience grading in a wide ranges of color spaces.

 

When working in a scene referred color management workflow (a.k.a Color Science = DaVinci YRGB Color Managed) changing the timeline color space will not affect the color space output. It will just change your experience in grading footage.

 

When working in a display referred color management workflow (DaVinci YRGB color science) , essentially your display and timeline color space are the same, so whatever you select there will be the same and affect your timeline and output.

 

Attached is a screen grab of the color management settings of a Dolby Vision HDR project I was involved. This is with version Resolve version 17 beta 8.

 

I hope this help,

 

David Baud

Colorist & Finishing Editor

david at kosmos-productions.com

 

 

 

 

_._,_._,_

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Re: [Avid-L2] MC 2018 BINS keep corrupting

I would upgrade to a later version, like 2019.12.1 as there is a bug with opening bins:

• Bug Number: MCCET-3421. In some instances, the bin would hang or crash when trying to open the bin.

On Feb 22, 2021, at 10:14 AM, Paul Darrigo <fedguy2@pacbell.net> wrote:

Avid ver: 2019.12.0

OS ver: Mojave 10.14.6

Project is located on the Internal drive

Paul Darrigo
CHULA - Citizens for a Humane Los Angeles
https://www.facebook.com/groups/773416409436730/
323-244-8020

On Monday, February 22, 2021, 9:09:59 AM PST, Tommy D. M. Pham via groups.io <forshurz=yahoo.com@groups.io> wrote:

What's the exact version you're running and where is your project located?

On Feb 22, 2021, at 6:41 AM, Paul Darrigo <fedguy2@pacbell.net> wrote:

Hi All

We have a project with a Mac Laptop, media on an external drive, .mxf files.. The Bins keep corrupting.   Anyone run into this?

Thanks,

Paul Darrigo
CHULA - Citizens for a Humane Los Angeles
https://www.facebook.com/groups/773416409436730/
323-244-8020

Re: [Avid-L2] MC 2018 BINS keep corrupting Screen shots of errors

Pics attached

Paul Darrigo
CHULA - Citizens for a Humane Los Angeles
https://www.facebook.com/groups/773416409436730/
323-244-8020

On Monday, February 22, 2021, 9:09:59 AM PST, Tommy D. M. Pham via groups.io <forshurz=yahoo.com@groups.io> wrote:

What's the exact version you're running and where is your project located?

On Feb 22, 2021, at 6:41 AM, Paul Darrigo <fedguy2@pacbell.net> wrote:

Hi All

We have a project with a Mac Laptop, media on an external drive, .mxf files.. The Bins keep corrupting.   Anyone run into this?

Thanks,

Paul Darrigo
CHULA - Citizens for a Humane Los Angeles
https://www.facebook.com/groups/773416409436730/
323-244-8020

Re: [Avid-L2] MC 2018 BINS keep corrupting

Avid ver: 2019.12.0

OS ver: Mojave 10.14.6

Project is located on the Internal drive

Paul Darrigo
CHULA - Citizens for a Humane Los Angeles
https://www.facebook.com/groups/773416409436730/
323-244-8020

On Monday, February 22, 2021, 9:09:59 AM PST, Tommy D. M. Pham via groups.io <forshurz=yahoo.com@groups.io> wrote:

What's the exact version you're running and where is your project located?

On Feb 22, 2021, at 6:41 AM, Paul Darrigo <fedguy2@pacbell.net> wrote:

Hi All

We have a project with a Mac Laptop, media on an external drive, .mxf files.. The Bins keep corrupting.   Anyone run into this?

Thanks,

Paul Darrigo
CHULA - Citizens for a Humane Los Angeles
https://www.facebook.com/groups/773416409436730/
323-244-8020

Re: [Avid-L2] MC 2018 BINS keep corrupting

What's the exact version you're running and where is your project located?

On Feb 22, 2021, at 6:41 AM, Paul Darrigo <fedguy2@pacbell.net> wrote:

Hi All

We have a project with a Mac Laptop, media on an external drive, .mxf files.. The Bins keep corrupting.   Anyone run into this?

Thanks,

Paul Darrigo
CHULA - Citizens for a Humane Los Angeles
https://www.facebook.com/groups/773416409436730/
323-244-8020

Re: [Avid-L2] Animating Still Images within MC

Marianna took care of it ;-)

On Feb 22, 2021, at 8:38 AM, oklaroman . <oklaroman@gmail.com> wrote:

Given that the product is already EOL, it's not available publicly, and I didn't know about it Marianna stepped in. If it's something you need as a legacy product, I recommend following the same course and going through support.

On Fri, Feb 19, 2021 at 11:21 AM C. Hess <cfh3media@gmail.com> wrote:

Is this version 5.6.3 available to all?

I have the same issue, running MC 18.9.

On Feb 19, 2021, at 10:54 AM, oklaroman . <oklaroman@gmail.com> wrote:

As a second follow-up: Marianna contacted Peter at BorisFX, and he was able to provide a final (and unsupported) RED version 5.6.3, which was put together for legacy projects. So far it works great, the UI is functional, and it renders without crashing. Thanks Marianna and Peter!

On Wed, Feb 17, 2021 at 5:04 PM oklaroman . via groups.io <oklaroman=gmail.com@groups.io> wrote:

As an update to this chain, Marianna reached out to help and contacted BFX. Long story short, BCC Title Studio is pretty much the same UI as the old Boris RED, minus the ability to work with multiple tracks in the MC timeline. So it looks like Title Studio is a good replacement for RED for image manipulation. I'm going to try it out. Thanks again for the input!

On Thu, Feb 11, 2021 at 8:37 AM oklaroman . via groups.io <oklaroman=gmail.com@groups.io> wrote:

Keld, this has not been my experience. I can apply the effect to a clip, but MC crashes when I launch the UI. What version of MC/RED are you using? I'm on Win10 with RED v5.6 and MC 21.2 (but this has been the case for the past several MC versions). I would really like to get it working again, so I may need to do more troubleshooting. Thanks!

On Thu, Feb 11, 2021 at 2:40 AM Keld von Eyben <keld@voneyben.dk> wrote:

Boris RED now works better than ever. After development stopped, it did have some crashing in certain situations. But since MC was recoded to 64bit, RED has been flying smoothly without crashes (on Win10, that is). I use it every day, especially because it can access six tracks in the MC timeline with a single effect.
BR Keld

Sent from KvE's iPad

Chip Hess

Chip Hess
CFH3 Media
312-806-3840