Sunday, December 8, 2013

Re: [Avid-L2] A new to me approach to ama linking?

 

UMID is not something YOU get to see. It's an under-the-hood thing. That is indeed how Avid deals with the "uniqueness" of any media. This UMID follows the media throughout Avid. I'm looking for the transcript I have of an interview I did with some of the Avid MXF/AMA experts, including Ian Krabacher, for my upcoming Avid book.


Steve



On Dec 7, 2013, at 9:27 PM, johnrobmoore <bigfish@pacbell.net> wrote:

 

I don't see UMID in the columns headers choices. Am I missing it or does it exist only in certain project types? Perhaps it's not something that can be viewed in a bin?

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[Avid-L2] Capture Manager cues but not recording

 

Hi  All
 
I haven't been here for a while, I'm hoping someone could help with a capture manager issue, original CM on intel SR2500 is no more, rebuilt on DL360 which looks ok but when starting an instant record, the GUI just sits there cueing.
 
Unsure of where the issue lies, re-installed SQL 2005 with mediabrowse DB etc, all looks the same as the other CM but will not record.
 
Any help would be greatly appreciated. Many thanks in advance.


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[Avid-L2] RE: Avid Customer Association?

 

The following has had some content snipped for brevity and making a point.  The essence of the message has not been changed.


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


Hello everyone….

 

We all have been reading a lot of chatter on the new Avid Customer Association (ACA) over the last few days.   The ACA is a new way of communicating with our customers.  I have sent your comments to the program director, Keli Callaghan,  and here is her reply.


Marianna

marianna.montague@...

813-493-6800 ©


------------------


All,


You may have questions when you receive this communication, so it is important that you take a look at the brief FAQ (below).   I also encourage you to read through the full registration site.


Thank you in advance for your support,


Keli Callaghan

Director, Customer Association
Avid

keli.callaghan@...


FAQs


Q. If I do not attend Avid Connect, can I still be an active ACA member? What is the annual membership fee?

A. We would love to have you join us at Avid Connect, but if you can't make it, yes, you will still be welcome to join the ACA. We will be providing more information about becoming an ACA member apart from the Avid Connect event in the near future. The annual fee to participate in the ACA will be $100, with membership benefits including:


- Access to a future ACA portal for association-related discussion, interaction and best practices (not to be confused with Avid's existing online communities and forums which are open to all Avid customers)

- Ongoing interaction, networking and exposure to professional industry peers

- Access to insights and shared experiences from the world's premier media companies

- Access to Avid Leadership on a consistent level through focused Advisory Councils

- Ability to provide ongoing and regular feedback to Avid about specific business and organizational requirements

  

Q:  If I do not pay to join the ACA am I still a member of the Avid Community?

A:  Absolutely. Every Avid customer is automatically part of the Avid community, with full access to our online communities and forums, as well as all of the communications and updates we make on a regular basis. We are introducing this new association for our customers who would like to even more actively engage with Avid and participate more directly in influencing our future direction. The benefits of being part of the ACA include:


- Access to a future ACA portal for association-related discussion, interaction and best practices (not to be confused with Avid's existing online communities and forums which are open to all Avid customers).

- Ongoing interaction, networking and exposure to professional industry peers

- Access to insights and shared experiences from the world's premier media companies

- Access to Avid Leadership on a consistent level through focused Advisory Councils

- Ability to provide ongoing and regular feedback to Avid about specific business and organizational requirements


--

Am I the only person who noticed that both questions, which are different, have the same answer?  The "If I do not pay to join the ACA am I still a member of the Avid Community?" could have had its answer end with "as well as all of the communications and updates we make on a regular basis."  I am uncertain if this is a lack of proofreading or a subtle way of talking up the ACA at every possible moment.

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Re: [Avid-L2] Is it I or is it P?

 

I used to switch to P in my projects to achieve the same low bit rate transcode option. Now that ProRes is native, I stopped my habit and do these transcodes in the I format to Apple ProRes Proxy, which yields around the same quality/storage benefits as DNxHD 36/45.


On Sun, Dec 8, 2013 at 4:35 AM, Roger <rogershuff@yahoo.co.uk> wrote:
 

Thanks - interesting. I didn't actually need to convert to progessive,  just use a codec with a lower data rate than is on offer in an interlaced project.


On 7 Dec 2013, at 18:06, Job ter Burg (L2B) wrote:

 


It makes perfect sense.

If you have 50i footage and you store it as P, you are in essence folding both fields (1920x540 x2) into a single frame (1920x1080 x1).

If you open that footage in a 1080i project, the field stepping command will let you step from one field to the next, where a field is nothing more and nothing less than half of the lines of any frame.

Transcoding to P doesn't make it progressive.

I or P, both are stored as a frame, but they are flagged differently.

J

On 7 dec. 2013, at 18:48, Roger <rogershuff@yahoo.co.uk> wrote:

Came a cross a weird thing (well, maybe not if someone knows the answer). I had a card full of 1080i/50 footage from a Panasonic camera. For a rough edit, I decided to transcode to DNxHD36 (P) to keep the file sizes down. I set the Project format to 1080/25P and transcoded everything I needed. I then happened to examine some of this transcoded footage in a 1080i/50 format project, at full quality. I was able to step through field by field and both fields are still there. This is a dance studio so lots of movement - and I'm not just seeing the nudging up and down of the image that you usually get with progressive footage viewed in an interlaced project. It looks just like interlaced would. Am I mad? Symphony 6.0.4 on Mac OS 10.7.5.



With best wishes,
Roger Shufflebottom




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

 


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

Subscribing (or unsubscribing) to the Avid-L2
Send an e-mail message to:
Avid-L2-subscribe@yahoogroups.com

Or, to unsubscribe, send e-mail to:
Avid-L2-unsubscribe@yahoogroups.com

Note that by subscribing, you are acknowledging that you have read
and understand this FAQ See below for additional detail.
Changing your e-mail address:
To change your e-mail - As this is a yahoo mailing list, you can re-set your non-yahoo email address from the http://groups.yahoo.com/group/Avid-L2/ web page.

Your options for member types can be reviewed on the group's home page. At any time, you can view messages on the web site for this group itself

Membership types are Indvidual messages, Digests of 25 messages each, special announcements only, or no mail at all.

To change your member type, visit the group web site and modify your membership type in the check boxes provided

Policies
Despite what email address or handle you use, you should register as a Yahoo user to participate in the Avid-L2, for access to the web features of this group.
Subscribers should set up an account with their legal first and last names, then send the request to join.
This is a Moderated list, and all subscription requests must be approved by the moderator(s). If you have a Yahoo account already that you would like to use, but doesn't contain your first and last names, please include your first and last name in the subscription request to the moderator when you request to join.

As always, Yahoo and the moderators of this list are not responsible for the use third parties may make of information you have made publicly available in this or any other public
forum. Please take a look at the applicable Yahoo Terms of Use and Privacy
Policy for more information about public information and forums.
Off Topic Filtering. Part of the interest of the Avid-L2 is it's range
of topics. If you are posting an Off-topic thread, please preface the
subject with OT: Use the colon after the letters.
Email filters and rules can be used by subscribers to move Off Topic posts to where ever they would like in their email organization by using a rule/filter with Sender of: Avid-l2@yahoogroups.com and subject contains OT: .

The Avid-L is a helpful yet rough around the edges crowd. Topics that are not welcome are religion, politics, and other disruptive topics that interfere with the operation of the list. Moderation of these topics will be quick, so simply put- Let's all just play nice

Comercial Posts must be prefaced with [comercial] in the subject or they will be rejected.
Jobs should have [job] in their header, and press releases should have [pr] in their header

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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[Avid-L2] RE: Avid Customer Association?

 

You're right, Terry.  I tend to throw those two groups together. That said, the panel for Avid Connect has little relevance to me and what I do and I suspect a majority of editors out there.  If I go to NAB, my $500 will be put to better things, such as 2 or 3 rounds of golf on those great desert courses....

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[Avid-L2] Re: A new to me approach to ama linking?

 

See lots of traffic on this odd approach if relinking the AMA masterclips to the transcoded media. But its just an added complication.
If MC has the relationship between the AMA clips and the transcoded media then it  has it (otherwise the relinking would never work)

Pat from his mobile

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Re: [Avid-L2] Is it I or is it P?

 

Thanks - interesting. I didn't actually need to convert to progessive,  just use a codec with a lower data rate than is on offer in an interlaced project.


On 7 Dec 2013, at 18:06, Job ter Burg (L2B) wrote:

 


It makes perfect sense.

If you have 50i footage and you store it as P, you are in essence folding both fields (1920x540 x2) into a single frame (1920x1080 x1).

If you open that footage in a 1080i project, the field stepping command will let you step from one field to the next, where a field is nothing more and nothing less than half of the lines of any frame.

Transcoding to P doesn't make it progressive.

I or P, both are stored as a frame, but they are flagged differently.

J

On 7 dec. 2013, at 18:48, Roger <rogershuff@yahoo.co.uk> wrote:

Came a cross a weird thing (well, maybe not if someone knows the answer). I had a card full of 1080i/50 footage from a Panasonic camera. For a rough edit, I decided to transcode to DNxHD36 (P) to keep the file sizes down. I set the Project format to 1080/25P and transcoded everything I needed. I then happened to examine some of this transcoded footage in a 1080i/50 format project, at full quality. I was able to step through field by field and both fields are still there. This is a dance studio so lots of movement - and I'm not just seeing the nudging up and down of the image that you usually get with progressive footage viewed in an interlaced project. It looks just like interlaced would. Am I mad? Symphony 6.0.4 on Mac OS 10.7.5.



With best wishes,
Roger Shufflebottom
+44 7973 543 660



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Re: [Avid-L2] Avid to Premiere

 

Hi Jay,

Is upgrading the MC7 an option, as that would allow you to relink to your camera masters and apply a suitable LUT.

Rich


On 7/12/13 1:31 PM, Jay Mahavier wrote:
 

Yes, linking to the Avid MXF media works, but why would I want that?  That's my offline media.  I want it to link back to the camera master files, in this case ProRes4444 files.  I could not figure out how to make PP CS6 do that.


And before you suggest decomposing my sequence and reimporting the ProRes4444 files into MC at a higher resolution I need to point out that my camera master files are LogC and Media Composer does not work with full range media well.

Jay

On Dec 6, 2013, at 6:07 PM, John Pale wrote:



I sent a not so simple sequence to Premiere Pro CC the other day,, via AAF and it opened perfectly linking to the Avid media.  This was to test Speedgrade.

Haven't tried with AMA media.





On Friday, December 6, 2013, Jay Mahavier wrote:
 

So, when I tried it I was using PP CS6. I would import the AAF and it would only want to relink to the MXF media. I couldn't figure out how to get it to want to link back to the ProRes QTs that were the camera masters. You know, like I would do with FCP7 and Automatic Duck. Which Adobe was instrumental in shutting down. I even posted my issue to the "AAF Import for Adobe Premier Pro" forum on the Adobe site 8 months ago and there has been over 1000 read but not one reply. It kind of pissed me off to the point where I don't even want to try the Adobe Creative Cloud products. So if you can figure their crap out I would be interested in hearing your solution.

Jay

On Dec 6, 2013, at 4:35 PM, Steve Hullfish wrote:

> Is there a way to send AAF or something from Avid to Premiere Pro for a basic cuts only sequence? Yes. I am being lazy. I have not Googled. I have not looked anywhere else. I am coming straight to the L.
> 
> I cut a trailer from a ProRez version of the movie. Now they want me to deliver a 2K trailer from a new 2K render of the movie file, so I can't export video from Avid, I'm thinking I have to import the 2K element into Premiere or After Effects and export from there to deliver true 2K.
> 
> There are about 80 edits so if I have to eyematch, it won't kill me, but I'd prefer some easier method. The audio - which is complex - doesn't need to go to Premiere or AE at all, since that is already at full resolution in Avid and I can export AAF for the sound mixers.
> 
> Steve
> 
> ------------------------------------
> 
> Yahoo Groups Links
> 
> 
> 





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[Avid-L2] Re: Is it I or is it P?

 

When I start talking about SCH to my wife, who is a long time editor going back to 1 inch linear online etc... she will roll her eyes and fall asleep or leave the room. As you can imagine this is a plus for me as bringing up SCH as an interesting topic of discussion is a much more politically correct way of ending an estrogen based discussion than some other methods I've used over the years and she too usually mutters something about marrying a nerd when I bring it up. This keeps me out of the dog house some of the time.

--- In Avid-L2@yahoogroups.com, "Mikeparsons.tv" <mikeparsons.tv@...> wrote:
>
> My wife just saw this and said 'see you're not the only one who worries about these things '...
>
> Then she mumbled something under her breath that she would not repeat.
>
> Mike
>
>
>
> > On 8 Dec, 2013, at 11:54 am, "johnrobmoore" <bigfish@...> wrote:
> >
> > Now that you mention it I used my waveform on the Tri-Level sync generator to view the broad pulses on a Tek 1750 a few years back. It was kind of a kludge but I could see how a true progressive Tri Level sync one set of broad pulses per frame. A Psf Tri Level was two sets of broad pulses per frame and a 1080i Tri Level was two sets of broad pulses with twice the number of broad pulses at half the duration judging by the look of things. I perhaps jumped to an incorrect conclusion that the same sync structure carried over to the sync signals in the HDSDI stream. I could not use my analogue scope to see the sync pulses of an SDI stream so I may be miss speaking. I thought I had also looked up the Vertical Sync structure in a Broadcast Engineering book too but I will have to double check.
> >
> > When I was doing my tests I was trying to check that the Tri Level was locked to house black which I could see by referencing the 1750 to house black and looking for drift when set to external sync. The other thing I was looking for was how monitors know to display the various signal types they are receiving with their on screen displays and how a scope knows the difference between Psf and I. I figured the same differences I saw in the Tri Level sync must occur in the SDI stream which was what allowed the scopes and monitors to determine the type of signal they are receiving. I'm at work now but I will check my book at home to see if I can find it there.
> >
> > If it's not the sync pulses in the HDSDI stream what is it that identifies the signal type? Perhaps I'm missing the obvious.
> >
> > --- In Avid-L2@yahoogroups.com, Bogdan Grigorescu <bogdan_grigorescu@> wrote:
> > >
> > > 'In the HDSDI stream the vertical broad pulses for Psf are twice the duration of those for interlace for a total of 5 and in interlace there are 10 broad pulses'
> > > Any reference to backup this statement John?
> > >
> > > To the best of my knowledge the fields and segments are absolutely identical, including the blanking intervals(H and V), as described in the standard: http://read.pudn.com/downloads160/ebook/723748/s274m.pdf
> > >
> > > BG
> > > http://www.finale.tv
> > >
> > >
> > >
> > > ________________________________
> > > From: johnrobmoore <bigfish@>
> > > To: Avid-L2@yahoogroups.com
> > > Sent: Saturday, December 7, 2013 6:16 PM
> > > Subject: [Avid-L2] Re: Is it I or is it P?
> > >
> > >
> > >
> > >
> > > When you originally transcoded in the 25P project did you check how Avid had interpreted the field motion of the ama'd clips? Avid does a poor job of properly estimating the field motion. A lot of time it chooses default which isn't always correct. Job is correct that electronically i and psf are basically the same except there is temporal displacement in i media that isn't there in psf media. The difference is in how it is flagged. In the HDSDI stream the vertical broad pulses for Psf are twice the duration of those for interlace for a total of 5 and in interlace there are 10 broad pulses.
> > >
> > > I'm wondering if when you ama'd for the original transcode if you manually set the clips field motion to interlace if Avid would then chuck out the second Psf of the frame and double the first. In essence halving the vertical resolution. Similar to motion adapters choosing one field over both field. Worth a try just for the fun of it.
> > >
> > > --- In Avid-L2@yahoogroups.com, "Job ter Burg (L2B)" <Job_L2@> wrote:
> > > >
> > > >
> > > > It makes perfect sense.
> > > >
> > > > If you have 50i footage and you store it as P, you are in essence folding both fields (1920x540 x2) into a single frame (1920x1080 x1).
> > > >
> > > > If you open that footage in a 1080i project, the field stepping command will let you step from one field to the next, where a field is nothing more and nothing less than half of the lines of any frame.
> > > >
> > > > Transcoding to P doesn't make it progressive.
> > > >
> > > > I or P, both are stored as a frame, but they are flagged differently.
> > > >
> > > > J
> > > >
> > > > On 7 dec. 2013, at 18:48, Roger <rogershuff@> wrote:
> > > > >
> > > > > Came a cross a weird thing (well, maybe not if someone knows the answer). I had a card full of 1080i/50 footage from a Panasonic camera. For a rough edit, I decided to transcode to DNxHD36 (P) to keep the file sizes down. I set the Project format to 1080/25P and transcoded everything I needed. I then happened to examine some of this transcoded footage in a 1080i/50 format project, at full quality. I was able to step through field by field and both fields are still there. This is a dance studio so lots of movement - and I'm not just seeing the nudging up and down of the image that you usually get with progressive footage viewed in an interlaced project. It looks just like interlaced would. Am I mad? Symphony 6.0.4 on Mac OS 10.7.5.
> > > >
> > >
> >
> >
>

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