Re: [Avid-L2] Mac Book Air vs. IPad Pro?

+1 for the Macbook Air. I didn't buy one for editing video but i went for 16G RAM and it runs Media Composer happily up to full HD. Also runs Avid nicely under Bootcamp - good for testing fro me.

With Best Wishes, Roger Shufflebottom +44 7973 543 660

Now available – The Media Composer Companion

www.avid-companion.co.uk

On Wednesday, 18 May 2022, 09:33:31 BST, Rupert Watson <rupertwatson@gmail.com> wrote:

Don't get the iPad. It doesn't work the same as a laptop in Office apps. Odd things like copy and paste behave differently and functionality in Excel is just not there. 

Get the MacBook Air. The battery life is unfriggingbelievable. You can do light editing on it. I have a MacBook 14. It's great but the battery life is less than half the MacBook Air. 

---

From: Avid-L2@groups.io <Avid-L2@groups.io> on behalf of John Moore <bigfish@pacbell.net>
Sent: Wednesday, May 18, 2022 6:19:17 AM
To: Avid L-2 Groups IO <avid-l2@groups.io>
Subject: [Avid-L2] Mac Book Air vs. IPad Pro?

 

I started freelancing at a place and bay swapping is the norm.  It's time for a new laptop/Pad.  I see the IPad pro has a keyboard, I hate touch screen.  My old 2009 MacBook Pro 17 inch won't boot so I'm limping along with an old mac book but it's unreliable. 

I'm not looking for a super robust workhorse but mostly emails and possibly light duty work in Adobe or Avid.  Does the IPad Pro even work like a laptop?  Is it conceivable to run Avid on a Mac Book Air?  I'm just starting to look and I need it somewhat small and agile but it would be great to be able to do small Avid work like opening bins to check things or manipulate them.

I suppose I could just update to the latest MacBook Pro 16 inch but I'm trying to weigh my options.  Any suggestions welcome.  I'm just not much of a PC guy these days but I do know I could get more bang for the buck going PC.

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

Re: [Avid-L2] Sony FS7 and FS6 in camera audio quality?

Since Jim is in this thread, let him answer it…

(I don't know much about replacing scratch audio for BWF workflows, but I do know that BWF contains an UUID nowadays, so, relinking to the whole shebang should be easy, so you can work with just the misdoen from the BWF.)

Bouke / edit 'B

videotoolshed.com
Van Oldenbarneveltstraat 33
6512 AS Nijmegen, the Netherlands
+31 6 21817248
If you want to send me large files, please use:
https://videotoolshed.wetransfer.com/

On 25 May 2022, at 17:23, John Moore <bigfish@pacbell.net> wrote:

Just one more step in the workflow that I don't need if it can be avoided.  I grew up editing linear and that audio was fine.  Sure it can be done but why add the step of syncing if the audio quality out of the camera is of high enough quality?  Syncing takes time and time equals money that probably isn't in the budget.  I know it should be but I don't control the fiscal side of things.  If I have to then I will but if not even better.

On Wed, May 25, 2022 at 12:15 AM, bouke wrote:

On 25 May 2022, at 02:28, John Moore <bigfish@pacbell.net> wrote:

  I'd prefer to not have to deal with dual system audio if possible.

Why not?

in Avid, syncing is quite easy, even when the cams don't have a TC input but get LTC on a sound channel instead. Just translate that to AUX, and sync on that.

(The FS7 does not have TC input by default.)

Without any form of TC, it will be hell of course, but that should not happen anymore. (With 'Anymore', I mean the last 20 years.)

 

Bouke

 

Re: [Avid-L2] Sony FS7 and FS6 in camera audio quality?

Just one more step in the workflow that I don't need if it can be avoided.  I grew up editing linear and that audio was fine.  Sure it can be done but why add the step of syncing if the audio quality out of the camera is of high enough quality?  Syncing takes time and time equals money that probably isn't in the budget.  I know it should be but I don't control the fiscal side of things.  If I have to then I will but if not even better.

On Wed, May 25, 2022 at 12:15 AM, bouke wrote:

On 25 May 2022, at 02:28, John Moore <bigfish@pacbell.net> wrote:

  I'd prefer to not have to deal with dual system audio if possible.

Why not?

in Avid, syncing is quite easy, even when the cams don’t have a TC input but get LTC on a sound channel instead. Just translate that to AUX, and sync on that.

(The FS7 does not have TC input by default.)

Without any form of TC, it will be hell of course, but that should not happen anymore. (With ‘Anymore’, I mean the last 20 years.)

 

Bouke

 

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Re: [Avid-L2] Sony FS7 and FS6 in camera audio quality?

On 25 May 2022, at 02:28, John Moore <bigfish@pacbell.net> wrote:

  I'd prefer to not have to deal with dual system audio if possible.

Why not?

in Avid, syncing is quite easy, even when the cams don't have a TC input but get LTC on a sound channel instead. Just translate that to AUX, and sync on that.

(The FS7 does not have TC input by default.)

Without any form of TC, it will be hell of course, but that should not happen anymore. (With 'Anymore', I mean the last 20 years.)

Bouke

Re: [Avid-L2] Sony FS7 and FS6 in camera audio quality?

Not sure if they will be shooting dual system or not.  I've asked.

On Tue, May 24, 2022 at 07:43 PM, Jim Feeley wrote:

The older/discontinued FS7 and FS7mkII record 24bit 48kHz audio and the preamps are OKish for ENG and basic dialog. Though like Mark says, going through an external mixer and using line-levels from a mixer and into the camera does sound better. I probably hate those preamps less than Mark; i.e., I’m not praising them. And the audio limiters are pretty harsh. 

 

The newer FX9 and FX6 are also record 24bit 48kHz, and the preamps are better and limiter is less bad (though that’s anecdotal; I haven’t carefully tested the preamps and limiters). But still not what you get with a Sound Devices or Zaxcom audio recorder (or line-level out of those and into the camera). 

 

I’ve worked will all of the above cameras as a location and post sound guy, and as a producer, though not as a camop. If this is something where a single person will be operating the camera and capturing audio via good lavs and radio systems (e.g., Lectro, Wisycom, Zaxcom, etc.) and then maybe you’ll have OK audio most of the time.

 

But more typical in my world is a location-sound person recording and sending only a scratch track and/or timecode to the camera… Do you know what the production plans to do? 

 

 

On May 24, 2022, at 6:01 PM, Mark Spano <cutandcover@gmail.com> wrote:

Capabilities are there: these cameras can record 48k uncompressed audio. But I would not rely on their preamps. As line inputs, they should be OK, but directly connecting mics to the cameras is never great. I don't know any camera manufacturer that puts decent (non-noisy, high headroom) mic preamps in their cameras. Probably for the best - lots of other things in those cameras that make noise…

On Tue, May 24, 2022 at 8:28 PM John Moore <bigfish@pacbell.net> wrote:

I'm going to be starting a project in a few weeks.  They are shooting on Sony FS7 and FS6 cameras.  Not sure if it will be double system sound or not.  I never deal with the offline side of the equation so I'm wondering is the onboard audio on the FS7 and FS6 decent quality.  IIRC there were various SLR formats where the audio wasn't so great and also out of sync.  I haven't heard any complaints from FS7 material but again I'm not usually in the loop on the audio track sources.  I'd prefer to not have to deal with dual system audio if possible.

 

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

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Re: [Avid-L2] Sony FS7 and FS6 in camera audio quality?

The older/discontinued FS7 and FS7mkII record 24bit 48kHz audio and the preamps are OKish for ENG and basic dialog. Though like Mark says, going through an external mixer and using line-levels from a mixer and into the camera does sound better. I probably hate those preamps less than Mark; i.e., I'm not praising them. And the audio limiters are pretty harsh. 

The newer FX9 and FX6 are also record 24bit 48kHz, and the preamps are better and limiter is less bad (though that's anecdotal; I haven't carefully tested the preamps and limiters). But still not what you get with a Sound Devices or Zaxcom audio recorder (or line-level out of those and into the camera). 

I've worked will all of the above cameras as a location and post sound guy, and as a producer, though not as a camop. If this is something where a single person will be operating the camera and capturing audio via good lavs and radio systems (e.g., Lectro, Wisycom, Zaxcom, etc.) and then maybe you'll have OK audio most of the time.

But more typical in my world is a location-sound person recording and sending only a scratch track and/or timecode to the camera… Do you know what the production plans to do? 

On May 24, 2022, at 6:01 PM, Mark Spano <cutandcover@gmail.com> wrote:

Capabilities are there: these cameras can record 48k uncompressed audio. But I would not rely on their preamps. As line inputs, they should be OK, but directly connecting mics to the cameras is never great. I don't know any camera manufacturer that puts decent (non-noisy, high headroom) mic preamps in their cameras. Probably for the best - lots of other things in those cameras that make noise…

On Tue, May 24, 2022 at 8:28 PM John Moore <bigfish@pacbell.net> wrote:

I'm going to be starting a project in a few weeks.  They are shooting on Sony FS7 and FS6 cameras.  Not sure if it will be double system sound or not.  I never deal with the offline side of the equation so I'm wondering is the onboard audio on the FS7 and FS6 decent quality.  IIRC there were various SLR formats where the audio wasn't so great and also out of sync.  I haven't heard any complaints from FS7 material but again I'm not usually in the loop on the audio track sources.  I'd prefer to not have to deal with dual system audio if possible.

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

Re: [Avid-L2] Sony FS7 and FS6 in camera audio quality?

Capabilities are there: these cameras can record 48k uncompressed audio. But I would not rely on their preamps. As line inputs, they should be OK, but directly connecting mics to the cameras is never great. I don't know any camera manufacturer that puts decent (non-noisy, high headroom) mic preamps in their cameras. Probably for the best - lots of other things in those cameras that make noise…

On Tue, May 24, 2022 at 8:28 PM John Moore <bigfish@pacbell.net> wrote:

I'm going to be starting a project in a few weeks.  They are shooting on Sony FS7 and FS6 cameras.  Not sure if it will be double system sound or not.  I never deal with the offline side of the equation so I'm wondering is the onboard audio on the FS7 and FS6 decent quality.  IIRC there were various SLR formats where the audio wasn't so great and also out of sync.  I haven't heard any complaints from FS7 material but again I'm not usually in the loop on the audio track sources.  I'd prefer to not have to deal with dual system audio if possible.

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

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[Avid-L2] Sony FS7 and FS6 in camera audio quality?

I'm going to be starting a project in a few weeks.  They are shooting on Sony FS7 and FS6 cameras.  Not sure if it will be double system sound or not.  I never deal with the offline side of the equation so I'm wondering is the onboard audio on the FS7 and FS6 decent quality.  IIRC there were various SLR formats where the audio wasn't so great and also out of sync.  I haven't heard any complaints from FS7 material but again I'm not usually in the loop on the audio track sources.  I'd prefer to not have to deal with dual system audio if possible.

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

Re: [Avid-L2] Is 300 DPI enough for scanning still in 4K?

Don't think of DPI in terms of size of display.  Size of display really doesn't matter.  What matters is the resolution of your output.

If you are working SD your resolution is 720x486, so 720 pixels wide no mater how big the screen is.

If you are working HD then your resolution is 1920x1080, so 1920 pixels wide no matter how big the screen is.

So, if you are going to scan an image that is 1" (inch) across and you want that image to fill the width of you 'screen' then for finishing in SD you need a scan resolution higher than 720 DPI.  If you want that 1" image to fill the width of an HD image then you need a scan resolution higher than 1920 DPI.

ETC. etc. Etc. etC. 

now consider if you have an image that is 10" across that you want to scan and have fill your format width.  For SD anything higher than 72 DPI should work fine.  For HD any scan resolution higher than 192 DPI should work fine.

Of course this doesn't leave any resolution for enlarging or scaling up.

So always consider the size of your source, the final resolution you will be working in, and how you will be using the image.  The more you are going to want to crop and scale and move it around the more resolution you are going to need to accommodate that.

Jay

On May 23, 2022, at 6:53 PM, John Moore <bigfish@pacbell.net> wrote:

Traditionally video was considered 75dpi ish.  Now with 4K is 300 DPI adequate for scanning stills?  I never get asked but just receive stills as they are.  I have rarely gotten anything scanned over 300 DPI.  Now I'm being asked what stills should be scanned at.  Is there any downside to suggesting 300 DPI?

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

Re: [Avid-L2] Is 300 DPI enough for scanning still in 4K?

DPI is a print measurment. Dots per INCH.
You control the amont of dots, but if you cannot control the display inches…
(Ok, your image is good for a small screen, next thing is it will be shown in an open air cinema, 45 feet wide.)

Get with the program, it's easy. Let it fit the rest of your footage, do NOT expect better quality than the original (whatever that might be.)

Bouke


> On 24 May 2022, at 16:19, todhop <hoplist@hillmanncarr.com> wrote:
>
> I've never been able to get people to understand that "DPI" is not an appropriate measure for video, so...
>
> The highest DPI you can set that is "native" and not "interpolated."
>
> However, 75% of the time people want more, so I hold their hands:
>
> 35mm slide or stamp size: 2400dpi or higher
> Standard photo or postcard size: 1200dpi or higher
> 8x10 or larger: 600dpi or higher
>
> I've never had anyone give me an image that is "too big"!
>
> Cheers,
> tod
>
> Hoptod LLC
>
> P.S. If your NLE has trouble with the image, set the DPI to 72dpi after scanning. Do any modern NLE's still have this problem?
>
>
>
>> On May 23, 2022, at 7:53 PM, John Moore <bigfish@pacbell.net> wrote:
>>
>> Traditionally video was considered 75dpi ish. Now with 4K is 300 DPI adequate for scanning stills? I never get asked but just receive stills as they are. I have rarely gotten anything scanned over 300 DPI. Now I'm being asked what stills should be scanned at. Is there any downside to suggesting 300 DPI?
>>
>> John Moore Barking Trout Productions Studio City, CA bigfish@pacbell.net
>>
>
>
>
>
>
>



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Re: [Avid-L2] Is 300 DPI enough for scanning still in 4K?

I've never been able to get people to understand that "DPI" is not an appropriate measure for video, so...

The highest DPI you can set that is "native" and not "interpolated."

However, 75% of the time people want more, so I hold their hands:

35mm slide or stamp size: 2400dpi or higher
Standard photo or postcard size: 1200dpi or higher
8x10 or larger: 600dpi or higher

I've never had anyone give me an image that is "too big"!

Cheers,
tod

Hoptod LLC

P.S. If your NLE has trouble with the image, set the DPI to 72dpi after scanning. Do any modern NLE's still have this problem?



> On May 23, 2022, at 7:53 PM, John Moore <bigfish@pacbell.net> wrote:
>
> Traditionally video was considered 75dpi ish. Now with 4K is 300 DPI adequate for scanning stills? I never get asked but just receive stills as they are. I have rarely gotten anything scanned over 300 DPI. Now I'm being asked what stills should be scanned at. Is there any downside to suggesting 300 DPI?
>
> John Moore Barking Trout Productions Studio City, CA bigfish@pacbell.net
>



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Re: [Avid-L2] Is 300 DPI enough for scanning still in 4K?

Thanks for the clarification.  I'm never on the scanning end so I usually check the dpi of the file I get more for reasons as to why it won't work than anything else.  Makes perfect sense to ask for the number of pixels.

On Mon, May 23, 2022 at 05:11 PM, Dave Hogan wrote:

Using DPI can be a trap.  Go with a spec of total raster size.  Horizontal dimension should be AT LEAST the same as the width of your raster.

 

If you are in 4K, and never plan to blow up the photo, ask for 4K as the horizontal dimension.  I would ask for higher, so I can zoom in on detail of the photo.

 

The reason DPI is a trap is that it is affected by the size of the original photo.  If it is a 5x7 portrait, 300 dpi x 5 is only 1,500 pixels, in a raster of almost 4000 pixels,.

 

If you are scanning slides, 300 dpi would only get you a raster of about 300 pixels.

 

Request the total size you want, and I would specify 8,000 pixels in the horizontal dimension.

 

My .02,

 

Dave Hogan,

Burbank, CA

On May 23, 2022, at 4:53 PM, John Moore <bigfish@pacbell.net> wrote:

Traditionally video was considered 75dpi ish.  Now with 4K is 300 DPI adequate for scanning stills?  I never get asked but just receive stills as they are.  I have rarely gotten anything scanned over 300 DPI.  Now I'm being asked what stills should be scanned at.  Is there any downside to suggesting 300 DPI?

 

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

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Re: [Avid-L2] Is 300 DPI enough for scanning still in 4K?

The size limit is a feature of pan and zoom. JB 

On May 23, 2022, at 7:35 PM, John Moore <bigfish@pacbell.net> wrote:

I've had times when Avid Pan and Zoom would balk at high dpi values.  Given these are slides it makes sense to ask for something like 8K in horizontal pixels. 

Re: [Avid-L2] Is 300 DPI enough for scanning still in 4K?

I've had times when Avid Pan and Zoom would balk at high dpi values.  Given these are slides it makes sense to ask for something like 8K in horizontal pixels. 

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Re: [Avid-L2] Is 300 DPI enough for scanning still in 4K?

I try to do my own scans when possible.

At least 6X the size, for panning and zooming in AE.

On May 23, 2022, at 7:12 PM, JBeck <jb30343@windstream.net> wrote:

Depends on the size of what you're scanning. If you're scanning a 35mm slide you'll want to scan at 3000+ dpi. If you're scanning an 8x10 print 400 dpi might be enough. There are really two goals. One is to create enough pixels to match your delivery format. The other is to make a scan that captures every last bit of detail that exists in the original. The later isn't really possible but it's something to strive for and will keep you from scanning that image again. JB 

On May 23, 2022, at 5:53 PM, John Moore <bigfish@pacbell.net> wrote:



Traditionally video was considered 75dpi ish.  Now with 4K is 300 DPI adequate for scanning stills?  I never get asked but just receive stills as they are.  I have rarely gotten anything scanned over 300 DPI.  Now I'm being asked what stills should be scanned at.  Is there any downside to suggesting 300 DPI?

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

Re: [Avid-L2] Is 300 DPI enough for scanning still in 4K?

Depends on the size of what you're scanning. If you're scanning a 35mm slide you'll want to scan at 3000+ dpi. If you're scanning an 8x10 print 400 dpi might be enough. There are really two goals. One is to create enough pixels to match your delivery format. The other is to make a scan that captures every last bit of detail that exists in the original. The later isn't really possible but it's something to strive for and will keep you from scanning that image again. JB 

On May 23, 2022, at 5:53 PM, John Moore <bigfish@pacbell.net> wrote:



Traditionally video was considered 75dpi ish.  Now with 4K is 300 DPI adequate for scanning stills?  I never get asked but just receive stills as they are.  I have rarely gotten anything scanned over 300 DPI.  Now I'm being asked what stills should be scanned at.  Is there any downside to suggesting 300 DPI?

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

Re: [Avid-L2] Is 300 DPI enough for scanning still in 4K?

Using DPI can be a trap.  Go with a spec of total raster size.  Horizontal dimension should be AT LEAST the same as the width of your raster.

If you are in 4K, and never plan to blow up the photo, ask for 4K as the horizontal dimension.  I would ask for higher, so I can zoom in on detail of the photo.

The reason DPI is a trap is that it is affected by the size of the original photo.  If it is a 5x7 portrait, 300 dpi x 5 is only 1,500 pixels, in a raster of almost 4000 pixels,.

If you are scanning slides, 300 dpi would only get you a raster of about 300 pixels.

Request the total size you want, and I would specify 8,000 pixels in the horizontal dimension.

My .02,

Dave Hogan,

Burbank, CA

On May 23, 2022, at 4:53 PM, John Moore <bigfish@pacbell.net> wrote:

Traditionally video was considered 75dpi ish.  Now with 4K is 300 DPI adequate for scanning stills?  I never get asked but just receive stills as they are.  I have rarely gotten anything scanned over 300 DPI.  Now I'm being asked what stills should be scanned at.  Is there any downside to suggesting 300 DPI?

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

[Avid-L2] Is 300 DPI enough for scanning still in 4K?

Traditionally video was considered 75dpi ish.  Now with 4K is 300 DPI adequate for scanning stills?  I never get asked but just receive stills as they are.  I have rarely gotten anything scanned over 300 DPI.  Now I'm being asked what stills should be scanned at.  Is there any downside to suggesting 300 DPI?

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

Re: [Avid-L2] MC 2022.4 "EssentialResourceNotAvailableError" leads to failure of the editing application to open

Unlike Excel, decisions about which version of MC to run include consideration of available hardware resources too.  Computer as well as I/O and storage devices become significant factors in that calculus.

"Wow" is a great word to express my reaction to the transfer speed of 450+ GB of media files from an external USB3 drive into the Dell 7760 M.2 storage drive while on location recently.  It took a whopping 8 minutes.  Major paradigm shift going on here!  ;-)

Still trying to work out the details of the desktop workstation upgrade.  While laptop workstations have quickly adopted Thunderbolt 4, desktops seem to be lagging far behind in the integration of that technology.  Even Thunderbolt 3 is an afterthought add-on with HP and Dell.

Karl Knowles

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