Monday, December 7, 2015

Re: [Avid-L2] Okay so I did and Fing Avid Mixdown now I get the double video mixdown whammy?

 

He definitely does have to do the mixdown if he wants constant cadence, or he has any matte keys. Otherwise, no. That is the thing that is different between his and my workflow.

20 minutes each way is way faster than an hour each way. And you never said anything about punching in fixes - yes you would need a new mixdown for that. But I did say to duplicate your sequence first, so you're not changing the original sequence before mixdown. Got a fix? Cut it into the sequence and do the mixdown x2 again. To me, this is still way faster than tape.

On Mon, Dec 7, 2015 at 2:02 PM, bigfish@pacbell.net [Avid-L2] <Avid-L2@yahoogroups.com> wrote:
 

That is exactly what I ended up doing.  The difference is Bogdan doesn't have to do the second mixdown on his ver. 8 system.  If I don't do the second mixdown in the 59.94 project Avid won't export a SAS QT and requires it to be DNX220X 59.94I but I'm on Ver. 6.5.4.7 which may explain the different behavior.

We will have to agree to disagree on the tape workflow.  for my hour shows it's a good 20 ish minutes for each video mixdown.  Then there is the time of creating the second project and all the manipulations and extra media storage.  Certainly not a deal breaker but outputting to tape in real time with complete confidence watching it go down is unbeatable.  Then not only do I have a reasonably permanent archive I can have the deck do the other conversions and when I get QC notes I can punch in the fixes on the tape and just recapture it to the delivery format.  I would agree the video mixdown path might be slightly faster on the first pass but given I always get QC notes it's a wash.

I know I can cut in fixes on the video mixdowns but when I do that while in the 23.98 project I no longer have a single continuous video mixdown for the 59.94 project?  When in the 59.94 project Avid is going to treat each section of the video mixdown as a separate clip and I don't know how I can assure I cut into an A frame and out on a D frame when I'm in the 23.976 project.  If I have to go back and make a complete video mixdown in the 23.976 project well there goes another 20 minutes there and another when it goes back to the 59.94 project.

Now Cinedeck with file based insert edits really seems like what I want under the Xmas treee.



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

John,

Here is my advice, which is different from Bogdan's, for specific reasons you will see.

In the 23.976p project, when ready to output, first DUPLICATE your sequence. Then in the duplicate sequence, do a VIDEO MIXDOWN.
Open a 59.94i project, and open the bin where your mixdown sequence is located. Do a VIDEO MIXDOWN. Then, export same-as-source.

The first mixdown is so that all of the random clips (and matte keys if any) are combined into a single piece of video. When you open this in the 59.94i project and do a mixdown, it bakes in the pulldown in a constant cadence, to the resolution you desire.

If you do not do the first mixdown, you will have motion adapters on all of your clips, creating broken pulldown cadence. Sometimes this can be a problem for QC to pass. Also, if you had any matte keys in your 23.976p sequence and did not mixdown there, you simply won't be able to open the sequence in the 59.94i project. MC will tell you that it's not possible.

Mixdown once in 23.976, then mixdown again in 59.94i. And doing these mixdowns and outputting SAS is many times faster than the tape workflow you're dreaming about.



On Sat, Dec 5, 2015 at 11:50 PM, bigfish@... [Avid-L2] <Avid-L2@yahoogroups.com> wrote:
 

I'm on OS 10.8.5 Ver. 6.5.4.7 so maybe there is a difference there.  My steps are as follows:

Online in 1080 23.976P project with DNX 175X material and all renders forced to DNX 175X.  10 tracks from a ProTools aaf.  The aaf is a solid track on each channel no edits from tone to region silence at the end pad.

While in 23.976 project mixdown video to ProResHQ.  Make a sequence with just the mixdown on V8 and no other video and the 10 tracks of pro tools stems. 

Create a 59.94 project and open the sequence bin from the other project.  Open my mixdown sequence which gets modified in the process to 29.97I.  Do you think opening the bin from the other 23.976 project could effect anything as opposed to creating a new bin in the 59.94 project and copying the sequence into there before opening it to modify it to 29.97I?

Now export same as source and I get a prompt that there is no native to the project video so Avid is going to export to DNX 220X instead of same as source.  It then makes a DNX .mov if I say continue.  I haven't tried to do a custom export setting it up to prores there.  My mixdown from the 23.976 is definitely ProRes.

Am I missing a step here?



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

we're on MC8.3.0/OSX10.9.5 - sources are 23.98 DNxHD and delivery is 1080i/59.94 ProResHQ

BG
 
 
image
 
 
 
 
 
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From: "bigfish@... [Avid-L2]" <Avid-L2@yahoogroups.com>

To: Avid-L2@yahoogroups.com
Sent: Saturday, December 5, 2015 4:30 PM
Subject: Re: [Avid-L2] Okay so I did and Fing Avid Mixdown now I get the double video mixdown whammy?

 
Well if there is no second mixdown required why is Avid telling me there is stuff not native to the project frame rate, or some such prompt, and telling me it will make a DNX 220X file when I want a ProRes.  Is the problem that I'm telling it same as source and not making a custom ProRes format output.  I'm on 6.5.4.7 if that factors into the equation.  I agree on the audio mixdown when I'm saving with direct audio option as long as interleaved audio is okay.  I have read on the L2 that later versions of 8 don't interleave the audio on export so there is a solution for that if I jump to V. 8.  The speed is nice for the mixdowns and  the export but the ProRes seems to be causing problems for some reason.

I don't know what I can be missing on steps.  What version are you running this workflow and are you going to ProRes from DNX material.  In the past the DNX outputs were the delivery spec and this is my first ProRes deliverable where I'm using Avid to do the frame rate convert.


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

-no second video mixdown required
-no audio mixdown needed

whole process is slightly faster than RT and reliable. We're doing this everyday on various shows with zero problems.

cheers,
BG
 
 
image
 
 
 
 
 
FINALÉ - Redefining Post
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From: "John Moore bigfish@... [Avid-L2]" <Avid-L2@yahoogroups.com>
To: yahoogroups <avid-l2@yahoogroups.com>
Sent: Saturday, December 5, 2015 2:05 PM
Subject: [Avid-L2] Okay so I did and Fing Avid Mixdown now I get the double video mixdown whammy?

 
So on a tight turn around show I committed to the Avid mixdown workflow for frame rate conversion and I ended up getting burned by my own mistake.  I mixed down the 23.976 to ProRes, the delivery format, and then opened a mixdown only sequence in a 59.94 1080I project.   Pulldown was perfect etc....  From there I went to save as and in my haste okay'd through the part where it tells me the sequence is a non native format and it will make an Avid DNX220X instead of a ProRes.  I'm assuming and about to correct this by making a second mixdown to ProRes while in the 59,94 project and using that to save a same as source.  I'm pretty sure that will work but I've always glossed over the part in people's work flows where they mention a second mixdown.

In the past I've done this but the deliverables were to be Avid DNX anyways so I didn't flag the gotcha until now.  I know this is the best way to assure a solid file but what a double pain in the arse.  The other issue is because the audio stems are 23.976 I have to do audio mixdowns of each track while in the 59.94 project or I get the prompt I must select audio mixdowns in the export settings.  Is there a way to avoid that prompt in an elegant manner.  I could try reimporting the aaf into the 59.94 project but it's a 23.976 ProTools AAF so I doubt that would work.
 
John Moore Barking Trout Productions Studio City, CA bigfish@...






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Posted by: Mark Spano <cutandcover@gmail.com>
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Posted by Video Geek Squad at 11:30 AM 0 comments

Re: [Avid-L2] Okay so I did and Fing Avid Mixdown now I get the double video mixdown whammy?

 

That is exactly what I ended up doing.  The difference is Bogdan doesn't have to do the second mixdown on his ver. 8 system.  If I don't do the second mixdown in the 59.94 project Avid won't export a SAS QT and requires it to be DNX220X 59.94I but I'm on Ver. 6.5.4.7 which may explain the different behavior.

We will have to agree to disagree on the tape workflow.  for my hour shows it's a good 20 ish minutes for each video mixdown.  Then there is the time of creating the second project and all the manipulations and extra media storage.  Certainly not a deal breaker but outputting to tape in real time with complete confidence watching it go down is unbeatable.  Then not only do I have a reasonably permanent archive I can have the deck do the other conversions and when I get QC notes I can punch in the fixes on the tape and just recapture it to the delivery format.  I would agree the video mixdown path might be slightly faster on the first pass but given I always get QC notes it's a wash.

I know I can cut in fixes on the video mixdowns but when I do that while in the 23.98 project I no longer have a single continuous video mixdown for the 59.94 project?  When in the 59.94 project Avid is going to treat each section of the video mixdown as a separate clip and I don't know how I can assure I cut into an A frame and out on a D frame when I'm in the 23.976 project.  If I have to go back and make a complete video mixdown in the 23.976 project well there goes another 20 minutes there and another when it goes back to the 59.94 project.

Now Cinedeck with file based insert edits really seems like what I want under the Xmas treee.



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

John,

Here is my advice, which is different from Bogdan's, for specific reasons you will see.

In the 23.976p project, when ready to output, first DUPLICATE your sequence. Then in the duplicate sequence, do a VIDEO MIXDOWN.
Open a 59.94i project, and open the bin where your mixdown sequence is located. Do a VIDEO MIXDOWN. Then, export same-as-source.

The first mixdown is so that all of the random clips (and matte keys if any) are combined into a single piece of video. When you open this in the 59.94i project and do a mixdown, it bakes in the pulldown in a constant cadence, to the resolution you desire.

If you do not do the first mixdown, you will have motion adapters on all of your clips, creating broken pulldown cadence. Sometimes this can be a problem for QC to pass. Also, if you had any matte keys in your 23.976p sequence and did not mixdown there, you simply won't be able to open the sequence in the 59.94i project. MC will tell you that it's not possible.

Mixdown once in 23.976, then mixdown again in 59.94i. And doing these mixdowns and outputting SAS is many times faster than the tape workflow you're dreaming about.



On Sat, Dec 5, 2015 at 11:50 PM, bigfish@... [Avid-L2] <Avid-L2@yahoogroups.com> wrote:
 

I'm on OS 10.8.5 Ver. 6.5.4.7 so maybe there is a difference there.  My steps are as follows:

Online in 1080 23.976P project with DNX 175X material and all renders forced to DNX 175X.  10 tracks from a ProTools aaf.  The aaf is a solid track on each channel no edits from tone to region silence at the end pad.

While in 23.976 project mixdown video to ProResHQ.  Make a sequence with just the mixdown on V8 and no other video and the 10 tracks of pro tools stems. 

Create a 59.94 project and open the sequence bin from the other project.  Open my mixdown sequence which gets modified in the process to 29.97I.  Do you think opening the bin from the other 23.976 project could effect anything as opposed to creating a new bin in the 59.94 project and copying the sequence into there before opening it to modify it to 29.97I?

Now export same as source and I get a prompt that there is no native to the project video so Avid is going to export to DNX 220X instead of same as source.  It then makes a DNX .mov if I say continue.  I haven't tried to do a custom export setting it up to prores there.  My mixdown from the 23.976 is definitely ProRes.

Am I missing a step here?



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

we're on MC8.3.0/OSX10.9.5 - sources are 23.98 DNxHD and delivery is 1080i/59.94 ProResHQ

BG
 
 
image
 
 
 
 
 
FINALÉ - Redefining Post
Our creative vision and independent spirit has helped revolutionize post production workflows for film, television, and commercial media content for more than 25 ye...
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From: "bigfish@... [Avid-L2]" <Avid-L2@yahoogroups.com>

To: Avid-L2@yahoogroups.com
Sent: Saturday, December 5, 2015 4:30 PM
Subject: Re: [Avid-L2] Okay so I did and Fing Avid Mixdown now I get the double video mixdown whammy?

 
Well if there is no second mixdown required why is Avid telling me there is stuff not native to the project frame rate, or some such prompt, and telling me it will make a DNX 220X file when I want a ProRes.  Is the problem that I'm telling it same as source and not making a custom ProRes format output.  I'm on 6.5.4.7 if that factors into the equation.  I agree on the audio mixdown when I'm saving with direct audio option as long as interleaved audio is okay.  I have read on the L2 that later versions of 8 don't interleave the audio on export so there is a solution for that if I jump to V. 8.  The speed is nice for the mixdowns and  the export but the ProRes seems to be causing problems for some reason.

I don't know what I can be missing on steps.  What version are you running this workflow and are you going to ProRes from DNX material.  In the past the DNX outputs were the delivery spec and this is my first ProRes deliverable where I'm using Avid to do the frame rate convert.


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

-no second video mixdown required
-no audio mixdown needed

whole process is slightly faster than RT and reliable. We're doing this everyday on various shows with zero problems.

cheers,
BG
 
 
image
 
 
 
 
 
FINALÉ - Redefining Post
Our creative vision and independent spirit has helped revolutionize post production workflows for film, television, and commercial media content for more than 25 ye...
Preview by Yahoo
 


From: "John Moore bigfish@... [Avid-L2]" <Avid-L2@yahoogroups.com>
To: yahoogroups <avid-l2@yahoogroups.com>
Sent: Saturday, December 5, 2015 2:05 PM
Subject: [Avid-L2] Okay so I did and Fing Avid Mixdown now I get the double video mixdown whammy?

 
So on a tight turn around show I committed to the Avid mixdown workflow for frame rate conversion and I ended up getting burned by my own mistake.  I mixed down the 23.976 to ProRes, the delivery format, and then opened a mixdown only sequence in a 59.94 1080I project.   Pulldown was perfect etc....  From there I went to save as and in my haste okay'd through the part where it tells me the sequence is a non native format and it will make an Avid DNX220X instead of a ProRes.  I'm assuming and about to correct this by making a second mixdown to ProRes while in the 59,94 project and using that to save a same as source.  I'm pretty sure that will work but I've always glossed over the part in people's work flows where they mention a second mixdown.

In the past I've done this but the deliverables were to be Avid DNX anyways so I didn't flag the gotcha until now.  I know this is the best way to assure a solid file but what a double pain in the arse.  The other issue is because the audio stems are 23.976 I have to do audio mixdowns of each track while in the 59.94 project or I get the prompt I must select audio mixdowns in the export settings.  Is there a way to avoid that prompt in an elegant manner.  I could try reimporting the aaf into the 59.94 project but it's a 23.976 ProTools AAF so I doubt that would work.
 
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 (8)
this is the Avid-L2

.

__,_._,___
Posted by Video Geek Squad at 11:02 AM 0 comments

Re: [Avid-L2] Okay so I did and Fing Avid Mixdown now I get the double video mixdown whammy?

 

John,

Here is my advice, which is different from Bogdan's, for specific reasons you will see.

In the 23.976p project, when ready to output, first DUPLICATE your sequence. Then in the duplicate sequence, do a VIDEO MIXDOWN.
Open a 59.94i project, and open the bin where your mixdown sequence is located. Do a VIDEO MIXDOWN. Then, export same-as-source.

The first mixdown is so that all of the random clips (and matte keys if any) are combined into a single piece of video. When you open this in the 59.94i project and do a mixdown, it bakes in the pulldown in a constant cadence, to the resolution you desire.

If you do not do the first mixdown, you will have motion adapters on all of your clips, creating broken pulldown cadence. Sometimes this can be a problem for QC to pass. Also, if you had any matte keys in your 23.976p sequence and did not mixdown there, you simply won't be able to open the sequence in the 59.94i project. MC will tell you that it's not possible.

Mixdown once in 23.976, then mixdown again in 59.94i. And doing these mixdowns and outputting SAS is many times faster than the tape workflow you're dreaming about.



On Sat, Dec 5, 2015 at 11:50 PM, bigfish@pacbell.net [Avid-L2] <Avid-L2@yahoogroups.com> wrote:
 

I'm on OS 10.8.5 Ver. 6.5.4.7 so maybe there is a difference there.  My steps are as follows:

Online in 1080 23.976P project with DNX 175X material and all renders forced to DNX 175X.  10 tracks from a ProTools aaf.  The aaf is a solid track on each channel no edits from tone to region silence at the end pad.

While in 23.976 project mixdown video to ProResHQ.  Make a sequence with just the mixdown on V8 and no other video and the 10 tracks of pro tools stems. 

Create a 59.94 project and open the sequence bin from the other project.  Open my mixdown sequence which gets modified in the process to 29.97I.  Do you think opening the bin from the other 23.976 project could effect anything as opposed to creating a new bin in the 59.94 project and copying the sequence into there before opening it to modify it to 29.97I?

Now export same as source and I get a prompt that there is no native to the project video so Avid is going to export to DNX 220X instead of same as source.  It then makes a DNX .mov if I say continue.  I haven't tried to do a custom export setting it up to prores there.  My mixdown from the 23.976 is definitely ProRes.

Am I missing a step here?



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

we're on MC8.3.0/OSX10.9.5 - sources are 23.98 DNxHD and delivery is 1080i/59.94 ProResHQ

BG
 
 
image
 
 
 
 
 
FINALÉ - Redefining Post
Our creative vision and independent spirit has helped revolutionize post production workflows for film, television, and commercial media content for more than 25 ye...
Preview by Yahoo
 


From: "bigfish@... [Avid-L2]" <Avid-L2@yahoogroups.com>

To: Avid-L2@yahoogroups.com
Sent: Saturday, December 5, 2015 4:30 PM
Subject: Re: [Avid-L2] Okay so I did and Fing Avid Mixdown now I get the double video mixdown whammy?

 
Well if there is no second mixdown required why is Avid telling me there is stuff not native to the project frame rate, or some such prompt, and telling me it will make a DNX 220X file when I want a ProRes.  Is the problem that I'm telling it same as source and not making a custom ProRes format output.  I'm on 6.5.4.7 if that factors into the equation.  I agree on the audio mixdown when I'm saving with direct audio option as long as interleaved audio is okay.  I have read on the L2 that later versions of 8 don't interleave the audio on export so there is a solution for that if I jump to V. 8.  The speed is nice for the mixdowns and  the export but the ProRes seems to be causing problems for some reason.

I don't know what I can be missing on steps.  What version are you running this workflow and are you going to ProRes from DNX material.  In the past the DNX outputs were the delivery spec and this is my first ProRes deliverable where I'm using Avid to do the frame rate convert.


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

-no second video mixdown required
-no audio mixdown needed

whole process is slightly faster than RT and reliable. We're doing this everyday on various shows with zero problems.

cheers,
BG
 
 
image
 
 
 
 
 
FINALÉ - Redefining Post
Our creative vision and independent spirit has helped revolutionize post production workflows for film, television, and commercial media content for more than 25 ye...
Preview by Yahoo
 


From: "John Moore bigfish@... [Avid-L2]" <Avid-L2@yahoogroups.com>
To: yahoogroups <avid-l2@yahoogroups.com>
Sent: Saturday, December 5, 2015 2:05 PM
Subject: [Avid-L2] Okay so I did and Fing Avid Mixdown now I get the double video mixdown whammy?

 
So on a tight turn around show I committed to the Avid mixdown workflow for frame rate conversion and I ended up getting burned by my own mistake.  I mixed down the 23.976 to ProRes, the delivery format, and then opened a mixdown only sequence in a 59.94 1080I project.   Pulldown was perfect etc....  From there I went to save as and in my haste okay'd through the part where it tells me the sequence is a non native format and it will make an Avid DNX220X instead of a ProRes.  I'm assuming and about to correct this by making a second mixdown to ProRes while in the 59,94 project and using that to save a same as source.  I'm pretty sure that will work but I've always glossed over the part in people's work flows where they mention a second mixdown.

In the past I've done this but the deliverables were to be Avid DNX anyways so I didn't flag the gotcha until now.  I know this is the best way to assure a solid file but what a double pain in the arse.  The other issue is because the audio stems are 23.976 I have to do audio mixdowns of each track while in the 59.94 project or I get the prompt I must select audio mixdowns in the export settings.  Is there a way to avoid that prompt in an elegant manner.  I could try reimporting the aaf into the 59.94 project but it's a 23.976 ProTools AAF so I doubt that would work.
 
John Moore Barking Trout Productions Studio City, CA bigfish@...





__._,_.___
Posted by: Mark Spano <cutandcover@gmail.com>
Reply via web post • Reply to sender • Reply to group • Start a New Topic • Messages in this topic (7)
this is the Avid-L2

.

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Posted by Video Geek Squad at 7:33 AM 0 comments

Sunday, December 6, 2015

[Avid-L2] Re: Interesting article on the business by a veteran colorist

 

Well "No Code Programming" seems a lot like Apple's "New Paradigm" of editing with FCP X.  First there was machine language/assembly language where the Dave Bargins of the world learned how to code at a machine level without the aid of higher level languages.  The result was extremely efficient coding that maximized performance with little to no RAM by today's standards.  Then with compilers and interpreters you could program in higher level languages like Fortran back in the day.  Those have evolved to the point where I'd bet it's hard to find coders who really understand the machine level stuff.  The result is amazing software that is less efficiently coded. 

Now you don't even have to understand a higher level language to code?  Well that will just add one more layer of abstraction and when that generation of coders or should I say non coders run into problems they won't have the raw skill to troubleshoot.  That's progress?

I read recently that they need to find old programmers that can work with the old satellite technology of the deep space probes.  They can't find young engineers that know Fortran etc..  That's kind of like what's happening in our industry with the loss of internships and apprentice positions.  You can't expect someone to know something they've never had to deal with.  My brother is a nuclear physicist/engineer and he says it's the same in his profession with the younger physicists not having the basic building blocks he had to learn when he started.  Kinda scary when the Nuclear Plant manager only knows how to Reboot the Reactor and not really how to fix it. 

Nice article.



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

Nicely written.
I'm sure that story resonates with some of the folks on this list.
And, I suppose some of us should be happy that we started when our skills were more highly-valued,  and before our tools became commodity-priced -- or free.

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Posted by: bigfish@pacbell.net
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this is the Avid-L2

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Posted by Video Geek Squad at 12:17 PM 0 comments

[Avid-L2] Re: Interesting article on the business by a veteran colorist

 

Nicely written.

I'm sure that story resonates with some of the folks on this list.
And, I suppose some of us should be happy that we started when our skills were more highly-valued,  and before our tools became commodity-priced -- or free.

__._,_.___
Posted by: blafarm@yahoo.com
Reply via web post • Reply to sender • Reply to group • Start a New Topic • Messages in this topic (2)
this is the Avid-L2

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__,_._,___
Posted by Video Geek Squad at 10:45 AM 0 comments

[Avid-L2] Interesting article on the business by a veteran colorist

 

Why I'm Leaving the Color Grading Business | Tom Parish - Inspire Curiosity


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Posted by: tcurren@aol.com
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Posted by Video Geek Squad at 8:55 AM 0 comments

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

 


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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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