Hello All,

is it possible to search the PAM database based on specified folders from Cloud UX? For example I would like to find assets with given Video ID but only in a concrete project/folder? We are interested in this type of search even in the Cloud UX UI and via some API also.

Thanks

Hello,

I have issue with one of my Avid Ultimate licence.

I used a Time Machine on my Mac to restore my applications and know the Avid licence I was using on this Mac is still « activated » but I can use it or « desactivated »…

Also, a new licence is  appeared (I didn’t purchase it or want to purchase it because I already have a Avid Ultimate licence, and don’t want to pay for a new one). I think it’s a one month licence but I don’t know why Avid make purchase without my autorisation.

How can I get my licence back please (it’s annual licence and the date of expiration is in 2021) and cancel this new licence plase ?

Thanks

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Hi

we're looking to buy the new Canon c70 video camera, and I would like to know if Avid MC 2019.12.01 can link smoothly into the native Canon XF-AVC intra frame codec in 1080x1920 50i and 50P 

XF-AVC (MXF) ALL-I or Long GOP, 4:2:2 10-bit 

I would assume yes.

The idea is to link the material and edit straight from the linked rushes with no prior transcoding.

Is this possible?

Specs

Avid MC 2019.12.01

MacBook Pro 15" 2018

OS 10.14.6

2.9Ghz i9 

32GB 2400 Mhz DDR4

On a certain set of sequences, the GetLatest command returns a truncated response that cannot be exploited.

Attached are the IPWS logs and the aaf of the asset.

(Please visit the site to view this media)

call:

Hi,

this thread is for all of you who are struggling with poor quality when using footage from the inflationary used low budget consumer cams like gopros or dji stuff or other Cams (A7 a.s.o.a.s.f) with progressive codecs in an interlaced project. (There are many threads about this and similar issues but none of them have a real solution I think)

Also I want to draw the attention to another issue which you get when you use footage from gopro or other progressive cams bottom up in an interlaced project.

Both issues happen with every MC Version I know so far.

I start this thread to summarize everything I found or investigated to these topics and to get more information from you who have the same issues.

Issues in short:

Issue A)

When changing the frame/field motion from progressive footage (25p or 50p) to 50i (for delivery) inside of avid you get jagged and flickering lines/edges and a blurry image.

Issue B)

When you get footage from a progressive cam (gopro/osmoaction…) recorded upside down, avid applies a frameflex with 180° Z-Rotation while linking. So the image is orientated right after that. But the result is an image with wrong field order (bff).  

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

About Issue A) :

I found a lot of threads where some users suggested to encode the progressive files to 50i before ingesting. Other users suggested to edit/finalize in 50p. Export in 50p and then afterwards convert the file to 50i. Also some users did not see any issues. I guess they have the same issues but simply do not realize them. Some use premiere (with antiflickering), some use after effects, some use resolve. No one has a workflow inside of MediaComposer.  By the way I use FFMPEG.

HELLO AVID are you aware of that?

When I watch TV I see these jaggy and flickering lines everywhere. On the other hand there is also many content which looks gorgeous. So there are workflows which work and some don’t.

Correct me when I am wrong: When it comes to DJI Equipment (Drones and Osmo) there is no workaround. You have to reinterlace the footage before you get it into Avid Media Composer. If not, the results are very disgusting and frustrating. I heard, the small chip in these devices creates too sharp images but this could not be the whole story.  

For reinterlacing we take ffmpeg and the reinterlace filter. It takes odd lines from frame 1 and even lines from frame 2 and so on. The result is slightly blurry (maybe I can figure out a better algorithm in the future). But the motion is smooth and you don’t have the aliasing artefacts I mentioned before.

When It comes to gopro footage the aliasing is not quite as annoying as it is with DJI. But it is still there. It gets worse when you activate the hypersmooth stabilize in the gopro 7 or higher. So you guess it: We should reinterlace it outside of Avid.

But here is another problem: While the osmo or drone footage are only a few clips per shooting day, we get so much Gopro footage we can’t (do not have the time) convert it before ingesting. (48h of footage per day (from 8 Gopro Cams) 20 shooting days a week).

We AMA link the 50p files into a bin and transcode the clips to XDCAM EX35 1080i50. -> jagged lines. If the image is used in the final edit and if it is too jaggy we take the clip, from original footage, reeinterlace the clip with ffmpeg and then reedit it into the timeline. Not a very handy workflow.

And for those people who think shooting in 25p or ingesting in 25p is the holy grail: I do not think so. When you use the Gopros as bodymount cams you get seasick when you not have the motion smoothness you get from 50p or 50i. Reinterlaceing with Motion Adaptor and rendersettings ->”use frameblending in motion adaptors” leads to ugly artifacts. And the jagged lines are also there. We made some tests. And on the other hand if you do not activate the frame blending setting you get 25p motion. Which is also not what we need.

Does anyone has a quick solution for a huge amount of footage? Maybe Marianna or Pat?

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

About Issue B)

We are dealing with the same Gopro clips from Issue A.

Some of theme where shot upside down. Avid MC is so kind to add a frameflex with 180° Z-Rotation while linking so you could see the image in the right way. But now it gets complicated:

We shoot in a multicam environment. So we group all the footage. Since Multigroup Mode could not render on the fly we see every Image which was shot upside down, you guess it, upside down. Our Editors hate it.

So we thought it would be a good idea to burn in and apply the source transformation while the initial transcode of the footage from 1080p50 to 1080i50. A really good and handy idea I thought. Every footage was orientated in the right way in the group, everything seemed to be fine.

But, no, not so with Avid Media Composer. After the transformation is applied and transcoding has been done the field order is wrong. I guess the order of the transcode process is

first interlace then

Z-rotate. It should be the other way around.

So when we make the final adjustments, we have to “Commit Multicam Edits” “re-Z-Rotate” the image and then apply a good oldfashioned Flip-Flop effect on every clip which is bottom-up

Avid? Really?

What is your supposed way to do this.

Requirements:

1.    Getting to edit fast in a shared storage environment

2.    Edit every image in groups with the right orientation

3.    Avoid field order issues

4.    Preserve the 50p or I motion

5.    Deliver in 1080i50

**********************************

When I watch TV I can see which content has been created with Avid Mediacomposer because of these quality issues.

@Avid: I would like to get the best quality out of my footage. Please provide me the tool for that. Do you think 1080i50 is no longer used or do you think everyone shoots in the framerate and field motion he delivers? Not in my world.

Since there are a lot older posts and Avid never dealt with it I guess there will be no fix for those issues in the future. So I investigate further in using ffmpeg. I hope I am wrong.

My goal is to program a script which takes any footage. Converts it to clean and crisp 1080i50 directly in a codec we like (DNxHD120 so far, but I would like to get XDCAMEX or HD working also to safe storage space). And output directly in Avid Media Files - MXF OP Atom. Since FFMPEG is quite fast and you safe the time for consolidating, this could be a good solution. And if I can read out the rotation flags from the original files (I guess I will) I can auto rotate the image while converting. Both issues will be gone.

But I would prefer If Avid finds a way to get these things working inside of Media Composer.

***********************************

Am I missing something?  Is anyone with same issues here? Maybe we can work together on a solution?

Sorry for the very long post but this kept me busy for a very long time now. I hope we will get a solution together.

Regards

I've stumbled across a bug in 2018.12.6 that i believe is also in later versions but i need to test it.

I was using NDI playback and found that if I use the SHIFT key to scrub, I crash.  I believe this was also happening with the CAPS LOCK bug kicks in, same issue.  So any scrubbing eventually kills Avid currently playing NDI.

Has anyone else experienced this?  I'm going to update to 2018.12.13 but I believe I was getting the same issue on another machine.

I've tested this on 4 machines at our office.

EDIT: I wanted to include that we have DNXIOs that are plugged into all machines. These are 2013 Mac Pros running Mojave.

Hi everybody

what do you think of mac pro 2013?

is it still wise to buy used ones?

Thank you for your answers

When exporting file as .MOV - exported files are excluding any video layers above the track that monitor is selected in timeline. Note, checking or unchecking "Use Marks" or use "Selected Tracks" does not address this problem.

So to be clear, before I export files I must make sure the video monitor in the timeline is selected at and above any tracks I want included in the exported file. Is this a bug? Thanks

Running version

2020.6.0.55072.0

Mac Catalina 10.15.7

p, li { white-space: pre-wrap; }

Hello all

I'm working with synced clips in my timeline, and the audio has channels all corresponding to different mics used on set. The sound recordist put time into giving each channel a name as metadata. To differentiate which is which on the clips' timeline display would be very useful, but it doesn't seem to be an option in the timeline Fast Menu. If you can't display this information, it almost defeats the point of the recordist even doing it, surely? The main reason being, I have encountered this issue by passing on the project to the sound designer, who sees that this metadata has not been preserved when they bring it into ProTools.

Is there a way to preserve this kind of metadata through the process of exporting an AAF for ProTools? Because there's no point in the recordist entering this data if Media Composer just does away with it anyway. 

I have attached a pic of the metadata I want, how it's displayed in a bin in MC. It's the TRK columns I want to stay all the way through to the export to ProTools.

Thankyou

Hi!

Everything is in the title: is there an "Extend" trimming option like in Premiere :)

Thanks

System: Macbook Pro, Catalina 10.15.6

Camera: Varicam LT

The latest P2 AMA Plugin P2PluginEx_Mac_4904 is installed, but does not show up under "Link with"  and AVID will not recognize AVC-Intra 4k LT files through the generic mxf plugin.I've unistalled and reinstalled the pluggin and went back to a previous version with no results.

I have 4 hours of AVC-Intra 4k LT footage I cannot ingest on a deadline project. I'll transcode to ProRes for now, but this needs a fix ASAP!

See here for screengrabs

https://www.dropbox.com/sh/s11zqopj9otlahj/AABIFH0s0N-sDW7o6_GCa-L9a?dl=0

Hello all

I'm working in a project in which the sound recordist has supplied me with audio rushes that have multiple channels that correspond to various mics used on set. Obviously when I sync the audio to video, in my timeline I have one video segment attached to many audio segments. It's taking up so much space in my timeline, especially when I need to overlap clips, the timeline is so tall. Is there a function that would allow me to somehow 'collapse' all these audio segments into one as it were, retaining all of the channels obviously but displaying them in the timeline as one entity?

Thankyou

Hello all

I would like to know if there is a way to save different versions of your MC project as you go, like a save as option. I don't necessarily want to be overwriting everytime I hit save. 

I have considered simply copying the project folder before I get started working each day. But surely there must be a fucntion within Media Composer?

Thankyou

Hello everyone!

Having edited with Avid for quite a while - I can't help the joke "I'm over 21" -, I've passed through several plattform eras, like 68k, PPC, Intel... Windows... several competitors, like Discreet Logic Edit, Final Cut Pro, Edius, Premiere... I elected Avid's Media Composer and Pro Tools... and Mac -  eventough I dumped Apple a few years ago, for sticking with the so called trash can and not being fond of a lot of their philosfies.

My experience with the Mac - cosmetics aside which became worse and worse, since Yosemite - is much more seamless, allowing me to work faster and be more productive. Just to be clear, I don't work for Apple.

Presently, I work in a hybrid Mac+Win environment, which gives me this perception.

Bottom line: My best system is a Media Composer, running on a Mac.

That said, I'll need to acquire a new desktop Macintosh in a 6 to 12 month timeframe. So, I carefully watched WWDC 2020 keynote and related John Gruber's Talk Show, with Craig Federighi and Greg Joswiak, where rumors became real news, regarding the transition from Intel to ARM.

This makes me a little (better to say a lot) causcious... because... I've gone through this before, when Apple moved from PPC to Intel. At that time, I needed urgently to buy a system... which ended up being discontinued 3 months later... right!... and limited by the lack of software support. Although the machine was powerful, it was rendered precociously obsolete.

Then there's the question on what will be Avid's response to this move. How long will take to release a Media Composer version compatible with ARM? For how long will Intel be supported? In which will Media Composer perform better?

Some would say it is too soon to consider all this. However, this time, I want to avoid history to repeat itself. I need my investment to last. Many has to be known, many doubts will have to be clarified, but, right now, they all come down to one simple question - which might not have a simple answer...

As Apple is yet to launch a last batch of Intel Macs, what will be the best option:

- The latest Intel Mac
- The first ARM Mac

I would like to know your insights.

Thank you all very much for reading.

Occasionally while I'm editing in Media Composer, I hit the space bar (or click on the arrow in the playback window) and playback begins, then stops after exactly 17 frames.  If I hit the space bar again, the same thing happens.  During these 17 frames the playhead in the timeline doesn't advance but comes to rest in the right place when I hit the space bar again.  When the problem occurs, it affects clips in the viewer window in exactly the same way.  The 17-frame interval is associated with a 27.97 fps project.  In 24fps projects, I believe it's a bit less, though I haven't made an precise observation.  Quitting and restarting MC doesn't fix the problem but rebooting the computer does.  I'm always working with transcoded DNxHD files.  I haven't been able to correlate this problem with any other variable.  It occurs regardless of the project and has been occurring occasionally for several years.  I'd appreciate any help.

Media Composer 6.5.4 Mac OS 10.8.5 Mac Pro 12GB Ram 2x2.4GHz 6-core

Hello,

I work on the project with 2 cams ITW and the "good" sound record in .waw, the editor want to use "group clip".
I'm on Avid Media Composer Ultimate 2018.2.3, I have make sequences with synch cams and only the good audio tracks that I want the editor have when use on his timeline. I create group clip by using the monitor, right clic, create group clip.

But when I put the group clip on a new sequence, the 2 cams are ok but the audio not. I have all the tracks (from the cam + all the .wav (I only want to of them)).

If I open the "group clip edit" I only have one track.

Can someone please tell me how to have a group clip that use only the audio tracks of my sequence please ?

(Sorry for my english, please tell me if something make no sence)

The Avid website is so unclear and non intuiative - I have a monthly sub to Media Composer but I need Phase Find so I need to upgrade to Ultimate - how can I do this as there is no clear way on the website!

Hi There,

My IT department seem to have an issue with my flexnet server as Tomcat V6 was end of life in 2017 and there are some vulnerabilities that they have raised issue with.  I am using the latest version of the flexnet device manager.

This is the issue they have raised.

https://cve.mitre.org/cgi-bin/cvename.cgi?name=CVE-2020-1938

I suspect they are being paranoid but interested if anyone else has had this query or if anyone from Avid can help me put their minds at rest.

Hi, several (and some unrelated) basic ISIS things to confirm before yanking out drives:

1. System Director warns of Degraded performance. In the respective engine’s Storage Manager, drive (set) #2 is “disk dying”. However... MegaRAID on that engine thinks that things are "Optimal". Only thanks to the log (plenty of notifications about Port 0 3:1:13) I was able to hone in on disk 13.

Some notable stats on it are 231 long IOs (>950ms), 2 IO errors out of 25, 0 CRC fails.

So it's dying, just not dying a lot yet?....

Is this normal, that Storage Manager would trigger a warning in this way, requiring such extra sleuthing to pin down the offending drive? Is the ISIS set for lower thresholds than MegaRAID?

2. As far as best practices... Another post here recommended checking the serial # before removing. That's for confirming you removed the right one, right? (Though it's kind of too late then. ;-)  There's no other place in the ISIS system to view disk's SN's, correct?

3. Separate question - a different engine:
One drive is solid blue / slow flashing red. Means a healthy spare with nothing special going on, right? Why don't any of the other engines` spares blink, though...? Is it a feature from older software?

4. The MegaRAID Storage Manager on this engine is definitely ancient, v6.5. Any special procedure or consideration to upgrade it? To, say... v14 like the other engines. Would you install on top of it? Normal uninstall and install? Or it's a more delicate process? MegaRAID Storage Manager merely monitors and does not affect the controllers` operation and RAID config/data... does it?

Hi there - Can somebody kindly share with me how to complete a loop with the poly tool in animatte?  I am clicking around and sometimes luckily find the right spot to complete the (bezier?) loop-- is there a trick to this.

Much appreciated,

R