How to make bulletproof Avid multigroups – by Tim
Other helpful tips,
- Have a grouping bin view that includes: Aux TC, Mark in, Start TC, Duration.
- It is important to make cuts (add edits) on ALL of the starts and stops of every video and audio track, otherwise you get a black line over the clip and that will throw people off.
XAVC Workflows in Avid
IF YOU HAVE FOOTAGE IN YOUR TIMELINE THAT WAS RECORDED ON THE Canon C100 (AVCHD,) (not C300 that is okay) Sony A7s (.mts) or F3 (AVCHD) or Canon 5D or 7D (.h264) or Panasonic HMC150 (AVCHD) or any other camera that does not record ProRes or DNxHD or DNxHR then don’t use this workflow. Use this workflow instead,
Let’s Edit with Media Composer – ADVANCED – Working with LUT’s by Lets Edit MC
What are LUTS?
Color Grading LUTs for Noobs! – LUT Basics and Techniques by Casey Faris
Log LUTs vs. 709 LUTs – What’s The Difference? by Casey Faris
VLOG and LUTs Part 2 – using LUTS in Avid Media Composer by David V. Clarke
Good to know!
With the “settings” tab active in the project window), go to File>Open Setting File.
Then, navigate to the particular user’s folder you want to copy from, open that folder and select the “(user name) settings.avs” file.
Another window opens with that user’s entire settings profile. Find the setting you want and drag it into the existing user profile open in the project window – add or replace as you desire.
How to create a vignette effect in Avid Media Composer
– Put video on V1
– On V2, make “add edits” on clip borders
– In effect palette, add the following effect: Image> Paint Effect
– Open the Effect Editor
– Zoom out of image using the zoom tool on the right side of the Composer window
– Choose the Rectangle tool
– Set mode to “solid”
– Draw rectangle over image
– Choose color in Effect Editor (usually black)
– Now you can draw the vignette shape (usually with oval tool), so:
– Choose oval tool and set mode to “erase”
– Draw vignette shape
– Select “feathering” and “bias” to your taste
🙂 Charlie Kirby
I’ve been working as an Assistant Editor/Junior Editor on an awesome TV documentary series. Our storage workspaces are connected to an Avid Unity Connection Manager. On Tuesday I worked in room A. Then on Wednesday we moved to room B. Since we are working on Avid Unity storage, this should be an easy transition. However, the bins I created in room A were still locked to the user in room A, so I couldn’t use them in room B. So here’s what I did to unlock those bins.
I navigated in Windows to our project partition. Then I opened our project folder and located the bin I wanted to unlock. In this case, the locked bin was called “Accused”. So I located the file named “Accused.lck” Then I deleted the .lck files. This is an Avid bin lock file. (please see photo below). After doing that, I went back into Avid Media Composer, and the bins were unlocked. If they aren’t, then right click on each bin in the project and select “unlock bin”, and that should do it for you!
Please note: DO NOT DELETE YOUR .avb files, as these are Avid bin files. Just delete the .lck files.
Still Specs for Scanning Images to use in Video Editing
– Scan as close to 4000 pixels in either direction, without going over. For example, if you scan an 8.5” x 11” sheet of paper, it should be about 2909w x 4000h in total pixel count. This would be a dpi of about 363
– Avid and Final Cut Pro both have difficulty working with image sizes larger than 4000 pixels in any direction.
– One dpi setting will not be useful for all scanned images. Please adjust your dpi so that is as close to 4000 pixels in either direction without going over.
– All images must be saved in RGB, not grayscale, CMYK or any color space other than RGB. Most systems will not be able to work with anything other than RGB color space.
– File format should be either .tiff (TIFF) or .tga (Targa).
– Tiff’s should be saved as 8bit, uncompressed, in Mac byte order.
– Targas should be saved 32bit, uncompressed.
This will produce and image file that can be used in SD or HD and be enlarged as much as 208% for HD and 555% for SD with out degradation. Also it will offer a format that is useful in, Final Cut Pro After Effects, Avid and a bunch of other software.
Here is a link to a helpful tool for those uploading video to YouTube, Vimeo and other websites. Takes the guesswork out of bitrate settings when encoding. 🙂
p.s. Note to self: When exporting in Avid, use the kiloBits/sec value in the calculator, for audio and video bitrate.
Avid Storage Calculator – link
I’ve taken the time to aggregate some great content which explores the pros and cons of Final Cut Pro X. Because so much is being written on this topic, I will be adding new articles, videos and radio blogs to this post as I sift through them. I’ll be adding the latest ones to the top of the stack.
Creative Cow, Helmut Kobler – A Final Cutter Tries Out Premiere Pro
Author of Final Cut Pro for Dummies, who has also written glowing reviews of multiple versions of Final Cut for multiple Mac magazines, admits that he’s been contemplating his escape from Planet Final Cut, even before the FCPX “debacle/disaster/catastrophe/suicide attempt”. In this article, he explains the signs and “harbingers of doom” over the years, that made him consider his escape.
Jeffery Harrell – A video editor/blogger
A video editor/blogger cuts a hilarious short video about FCPX, using Radiohead’s “Creep”, but he cuts it on Adobe Premiere, uploads it to YouTube, then he gets a really awesome phone call from some of Adobe’s senior managers! “Apple is so f___ing special” (lol!)
YouTube – Hiter Finds Out About Final Cut Pro X
Creative Cow – Why We Can’t Use Final Cut Pro X at Our Companies
Two COW leaders (Rich and Walter) voice strong opinions about why they can not implement Final Cut Pro X into their post production facilities, at this time.
Washington Post, Hayley Tsukayama – Apple Final Cut Pro X: Thousands of filmmakers and editors say there is nothing “pro” about it
Apple’s been taking a lot of heat over its latest version of Final Cut Pro since it launched last week. Now, in just a few hours, more than 600 people — most identifying themselves as editors and filmmakers — have already signed a petition titled, “Final Cut Pro X is Not a Professional Application.”
NY Times, Pogues Posts – Professional Video Editors Weigh in on Final Cut Pro X
In 10 years of writing Times columns, I’ve never encountered anything quite like this. In Thursday’s paper, I reviewed Apple’s Final Cut Pro X, a professional video-editing program. It’s not an update of the existing Final Cut, which is by far the most popular such program; it’s completely new and radically redesigned. It looks different, its strengths are different — and after one day of using it, many professional video editors are running through the streets with pitchforks.
Conan O’Brien – Conan’s Editors Absolutely Love Apple’s New Final Cut Pro X
NY Times, David Pogue – Apple’s Final Cut is Dead. Long Live Final Cut
Final Cut Pro has 54 percent of the video-editing market, far more than its rivals from Adobe and Avid. Did I use the present tense? Sorry about that. Final Cut was the industry leader. It did cost $1,000. But that’s all over now.