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Avid Community Tips
  • Sequence Demo: Creating "Mirror Sidebars" to pad 4:3 into 16:9

    BEFORE, with black sidebars.                                    AFTER, using

                                                                                MC v7.0.4 Blend/3D Warp FX (using Crop, Rotation, and position)

      BEFORE                                                                        AFTER

         


    Download the Zipped Folder containing MC v7.04 Bin and one jpeg

    The un-zipped folder contains an Avid Bin with two similar Sequences-- both of which demonstrate a way to accomplish this. There's also a jpeg file. The offline Sequence needs to be Batch Imported and Relinked to bring the to offline sequences back online. Enjoy.-Telegram

  • orange line in a clip???

    Hello people!

    Im workin with avid 8.4 and i noticed that appear an orange line in the top of a clip while editing a clip, this color line, i never saw in older versions...

    I thought it was happened by a jpeg, so i tested and now im more confused:

    As you can see in the image attached, i cut the V1 in four pieces and put in V2 a text... in the first piece without v2, orange line still shows; in the second piece with a text, orange line still show but in the fourth piece with v2, now appears a green line and then dissapear

    Anyone can tell me what is that orange line?

    my testing timeline doesnt have any effects, only V1 that is a jpg and v2, a text.

    Thanks in advanced!

     

  • making a 23.976 fps deliverable CCM, reconformed with some 29.97 fps video cadence sources in Avid Symphony

    Duration and horizontal lines preserved when going from 29.97 to 23.976 frames per second by playing back the video cadences of 2:3, 2:3:3:2, or 2:2:2:4 as 2:2:2:2. A slight crackle from a fire. Look and feel the water before diving in might have some value. Deep into the forest, rays of light, slight fog rolls in, waterfalls in the distance. The water was so clear, and super cold.



    Inside the Avid Symphony with a source-file, here is an example using 5 frames at 29.97 fps and making 4 frames at 23.976 fps. Circled is from my test results of what makes the progressive video output. Listed which "Field Motion"selection for progressive video output.



    In Avid Media Composer: 
    29.97 fps Master Clips that have cadance, the bin heading "Field Motion", settings/steps, and output 23.976 frames per second.






    2:2:2:4 cadence:
    In the Avid Bin, assign the Master Clip(s) "Progressive" by clicking under the "Field Motion" column.






    2:3:3:2 cadence:
    In the Avid Bin, assign the Master Clip(s) "2:3 Film" by clicking under the "Field Motion" column.






    2:3:2:3 cadence has specific steps to preserve all horizontal lines that made up the interlaced picture to move as progressive video:
    In the Avid Bin, assign the Master Clip(s) "2:3 Film" by clicking under the "Field Motion" column.

    Step 1) Load the Master Clip with the 2:3 Film selection into the "Source Monitor"
    Step 2) I would use frame 11 and after giving the avid at least a 10 frame pad to hold onto/hide & then make sure and place an In Mark using an "A" frame, and then edit.
    Step 3) On the Record Side Timeline, park the blue position indicator on the clip with the 2:3:2:3 cadence and go to the "Tools Menu > Motion Effect Editor"
    Step 4) In the "Motion Effect Editor" click the "Promote" button.

    The promote button turns the motion effect into a "Timewarp" effect.

    configure the following in the "Motion Effect Editor"
    "Type: Both Fields"
    "Source Film With 2:3 Pulldown" 
    "2:3 Pulldown: AA BB BC CD DD"



    Before using thousands of files for online, a choice in that same source might be awaiting the artist if the deliverable specification is 23.976 fps.
    Play 29.97 fps sources as 23.976 fps progressive sources with the same duration intact, keeping audio sync in place and true progressive video frames can be output. Source File Internal GUI Signal Flow like a patch bay.


    Test Video File Source Using an Avid Interlaced Project First:

    "Step Forward One Field" Avid button to see what pattern of video repeats.


    This is fantastic for seeing a possible video choice to play with complete unique frames in 23.976 fps and understand to train your eye what you are seeing play at 29.97 fps with the repeated video flickering. Get the most out of the picture in question. With video sources that are file-based I can look to see which video cadence is present. I have found awesome use with the Avid for looking at the video to figure out which standards were used to going all out progressive video which is a pure treat!!! (convert 2:2:2:4 cadence or 2:3:3:2 cadence to a 2:3 for that standard in the 59.94 online!!! The Avid has the power to do it perfectly!!!)



    In an interlaced project for analyzation purposes: Using the keyboard, step through field 1 then field 2. 

    The Avid will display a "2" in the upper right hand corner, telling you that you are parked on video field 2.



    What type of video repeat cadence is present?
    Step through to manually figure out the cadence pattern. Precisely analyzing interlaced video.
    With Video cadence patterns, repeated cycles of either 2:3, 2:3:3:2, and 2:2:2:4 are present in the 29.97 frames per second source. 


    Once one knows the cadence pattern type, enter a 23.976 fps project and this will preserve the duration too!!! Video and Audio maintains sync with this method.

    Set-up Media Composer to display clean frames please:

    First: new 23.976 fps Avid Project.






    Second: Set-Up Video Quality Menu Choosing A Both Field View:






    Third: Go to the Avid User "Render" Settings make sure there is not a check mark next to the words "Use frame blending in Motion Adapters".

    Before changing render user settings, please clear the Source and Record Monitors and Menus!!!

































    Avid Tech-tip from my test results with Transcode Convert Command Choices:

    if using transcode convert for needs. situations where the cut cannot contain the first frame of video in the sequence, etc, attempting to explain how to proceed for clean results.

    Select master clips with 2:2:2:4 or the 2:3:3:2, So far the transcode > convert command for the master clips converted to 23.976 frames per second and have perfect clean frames output.


    If I select a sequence or a subclip and perform the "Transcode > Convert" command: When performing the transcode convert command please test and look at the results. ---> for sequences and subclips "Edit Start" and "Handle length" are a factor for results.

    Here are a couple of examples with using "Transcode > Convert" command on a sequence where I achieved clean frame transfers.

    Example 1) 2:3:2:3 cadence then transcode>convert command my repeated tests are showing me. do not use the first 10 frames of a master clip in the edit and then mark an in later, and use a "3" frame handle length choice in the Transcode Window. This seems to work with clips of various durations. 

    Example 2) "BB BC CD DD AA" editing on the "B" with "1" frame handle in the transcode>convert command is working.











    Frames and fields used for video extraction from the 29.97 frames per second source to 23.976 fps, make every 5 frames into 4 frames.

    2:2:2:4 cadence removal extraction test results:

    master clip "Progressive" populated under "Field Motion" column
    29.97fps ---> 5 Frames ---> 4 Frames 23.976 fps
    TC 01:00:00:00 field 1 and field 2 lands to form ----------> TC 01:00:00:00
    TC 01:00:00:01 field 1 and field 2 lands to form ----------> TC 01:00:00:01
    TC 01:00:00:02 field 1 and field 2 lands to form ----------> TC 01:00:00:02
    TC 01:00:00:03 field 1 and field 2 lands to form ----------> TC 01:00:00:03
    TC 01:00:00:04 - **************


    2:3:3:2 cadence removal: A master clip with "2:3 Film" selection under the column "Field Motion" transfer results:
    29.97fps ---> 5 Frames ---> 4 Frames 23.976 fps
    TC 01:00:00:00 field 1 and field 2 lands to form ----------> TC 01:00:00:00
    TC 01:00:00:01 ******* *** field 2 lands to form ----------> TC 01:00:00:01
    TC 01:00:00:02 field 1 *** ******* lands to form ----------> TC 01:00:00:01
    TC 01:00:00:03 field 1 and field 2 lands to form ----------> TC 01:00:00:02
    TC 01:00:00:04 field 1 and field 2 lands to form ----------> TC 01:00:00:03


    2:3:2:3 cadence removal: A master clip with "2:3 Film" selection under the column "Field Motion" transfer results: 
    29.97fps ---> 5 Frames ---> 4 Frames 23.976 fps
    TC 01:00:00:00 field 1 and field 2 lands to form ----------> TC 01:00:00:00
    TC 01:00:00:01 field 1 and field 2 lands to form ----------> TC 01:00:00:01
    TC 01:00:00:02 ******* *** field 2 lands to form ----------> TC 01:00:00:02
    TC 01:00:00:03 field 1 *** ******* lands to form ----------> TC 01:00:00:02
    TC 01:00:00:04 field 1 and field 2 lands to form ----------> TC 01:00:00:03
    2 field extraction is done by promoting the Motion Effect and configure the fallowing in the Motion Effect Editor:
    Type: "Both Fields"
    Source: "Film With 2:3 Pulldown"
    2:3 Pulldown: "AA BB BC CD DD"




    Avid tech note with single field results: only half of the horizontal lines of pictures is used by Avid when "Interlaced" in the "Field Motion" is the selection for master clips with a frame per second of 29.97 in a 23.976 fps project. And is only converting using a single field for the transfers, as far as I can tell. And an important note is this seems to apply when the avid takes 59.94 interlaced in a 29.97 progressive project too!!! This is avid Motion effect avtivity test results here.

    "Field Motion" setting configuration only uses 1 field for 1 progressive frame
    cadence removal: A master clip with the "Field Motion" of "Interlaced"
    When using the transcode convert command if the "Field Motion" column is populated with "Interlaced" the Avid creates a single field sample in a progressive frame loosing 1/2 of the horizontal lines in the transfer.: 
    field 1 - 01:00:00:00 30fps 01:00:00:00 23.976 fps
    field 1 - 01:00:00:01 30fps 01:00:00:01 23.976 fps
    field 2 - 01:00:00:02 30fps 01:00:00:02 23.976 fps
    field 2 - 01:00:00:03 30fps 01:00:00:03 23.976 fps
    field 1 - 01:00:00:05 30fps 01:00:00:04 23.976 fps
    field 1 - 01:00:00:06 30fps 01:00:00:05 23.976 fps
    field 2 - 01:00:00:07 30fps 01:00:00:06 23.976 fps
    field 2 - 01:00:00:08 30fps 01:00:00:07 23.976 fps
    field 1 - 01:00:00:10 30fps 01:00:00:08 23.976 fps



    Note Audio is not touched and is kept perfect:
    The original 48,000 samples per second of audio plays in sync with the 23.976 frames per second of video.
    Extracting pictures from a 29.97 frame per second count, with exact precision placing progressive video frames in a 23.976 frame per second count.







    Thoughts about Letters "A","B","C","D":

    "A" - 1 unique progressive video frame
    "B" - 1 unique progressive video frame
    "C" - 1 unique progressive video frame
    "D" - 1 unique progressive video frame




    About the Letters "A","B","C","D" with the numbers of either "1" and "2" added:


    "A1" - odd numbered horizontal lines make up half of an original frame "A"
    "A2" - even numbered horizontal lines make up half of an original frame "A"
    "B1" - odd numbered horizontal lines make up half of an original frame "B"
    "B2" - even numbered horizontal lines make up half of an original frame "B"
    "C1" - odd numbered horizontal lines make up half of an original frame "C"
    "C2" - even numbered horizontal lines make up half of an original frame "C"
    "D1" - odd numbered horizontal lines make up half of an original frame "D"
    "D2" - even numbered horizontal lines make up half of an original frame "D"





    Thoughts about Numbers "2","3", and "4", they are describing something:


    "2" - 1 progressive video frame
    "3" - 1 progressive video frame in 3 fields of interlaced video with 1 repeated field
    "4" - 1 progressive video frame in 4 fields of interlaced video with 1 repeated frame






    "Timewarp" effect can be set-up to remove video cadence too!!!:
    (circled gets pulled as selected)




    recap:
    In the Avid Bin for a Master Clip that you would like to remove "2:2:2:4" cadence, select "Progressive" in "Field Motion".

    In the Avid Bin for a Master Clip that you would like to remove "2:3:3:2" cadence, select "2:3 Film" in "Field Motion".

    In the Avid Bin for a Master Clip that you would like to remove "2:3:2:3" cadence, select "2:3 Film" in "Field Motion" and then promote the motion effect to a "Timewarp Effect", then choose cadence pattern "AA BB BC CD DD".




    I hope this is helpful!!!

    - scott freeman


    Test using Avid Media Composer version 8.3.1 & 8.4
    Please test the Media Composer and each version to make sure you get the desired results.

  • media composer MXF OP-Atom to resolve "REEL NAME" and tapeless sources

    For an AAF from Avid imported into Resolve creating a timeline, the Edit Index "Reel Name" seems to be Avid Master Clip "Source Icon" name metadata. (This is default Resolve behavior if turning on Reel Names. And one can view this everytime if in Resolve there was no media present and one imported the Avid created AAF.)

    The "Source Icon" name in the Avid gets embedded into the MXF OP-Atom media file and in Resolve the user extracts reel name based on embedded. Matching metadata is the trick here.

     

    when sending Resolve MXF media files I like to prepare for a return back to Avid too:

     

    Before sending to Resolve, in the Avid Bin, viewed in "Text Mode", with a source activated, looking for an exact same metadata populated in two rows

    One row for the source icon name metadata.

    An example of what a tapeless "Source File" metadata Master Clip's "Source Icon" looks like in an avid bin when viewed in "Text Mode"

    Master Clip's Source Icon has populated metadata in the "Name" column, by default. 

    - so far,  I have always seen a master clip have a source icon triggered for display, unless the master clip contained no timecode metadata

     

    One row for the master clip.

     

    These two rows together are the metadata continuity that for most file types has been how I create optimized-reconforms for the idenification of the file to connect. This with matching fps and timecode has been filling the requirements for a lot of file types.

     

     

    With any of this non-linear, random-access, color correction, finishing, online editorial computer i/o stuff, please always test making sure one is getting the desired results before diving in.

     

    I hope this is helpful!!!

     

     

  • Optimize Plug In Call Up Time

    While calling up a Plug in of any kind, it may be difficult to find what you need within the desired amount of time. To avoid frustration. Lets use a real example of how to: Optimize Plug In Call up time

    IE_

    I am calling up the ButchVigVocal Plugin on a mono track. While I am hovering over the plug in, I am going to hold down CMMD, and click. Now you should notice that you will see this plug in at the top of the Plug in List. 

     

  • Avid Video Mixdown as a Source for DaVinci Resolve

    I wrote a step-by-step: preparing the embedded metadata of an Avid Media Composer video mixdown mxf media file for a DaVinci Resolve conform.

    http://library.creativecow.net/freeman_scott/Avid-Video-Mixdowns_DaVinci-Resolve/1

  • Why Do You Need Color Correction?

    In this video Terence Curren gives a few examples of how color correction can help with your video production.

    https://vimeo.com/108177218

     

    (Please visit the site to view this media)

  • making a radio effect transform

    Does anyone no how to do this? on one audio track making radio effect transforms into the orignal clean audio. I use to do this with Adobe Audition 3 and their FFT filter, but i cant find a way to do this with P.T 10. i tried EQ filters, phasers and flangers..also ive tried 2 seprate tracks 1 radio effect and one oringal track then fade one out as the other fades in but it has a wierd phase sound..any thoughts??

     

    thanks

  • Media Composer AutoNotch Tip for Color Grading Prep

     

     

    I came up with this trick in the 90s when Symphony first came out. Graded a show last week using this prep method for notching so I thought I share it. Only a couple of dozen editors will remember the post way way back when we were on 2400 baud dial-up modems. http://www.youtube.com/watch?v=lCYSV_SA65M
    hope it helps someone. Big Smile
  • Round-tripping Between Media Composer and daVinci Resolve

    At a recent Editors' Lounge Editor and Avid specialist Scott Freeman dives deep into proper workflow techniques for "round-tripping" Avid projects through Da Vinci Resolve, including file name management, EDLs and much much more.

     

    http://editorslounge.com/2013.09-avid-resolve/sep2013-freeman.html

     

     

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