Avid Community Tips

Avid for Liquid Users: Lesson 2 - Let's get on with it

drbgaijin — Wed, 21 May 2008 03:45:30 GMT

So, let’s get on with it!

I am sure that most of you who are considering a migration to MC are thinking along the same lines as I was back in February............ I will install MC and run it parallel with Liquid. I will use MC for xxxxxx and Liquid when I want to do yyyyyyy. Also I am pretty sure that many of you will (naturally) try running MC on your present set-up!

It may work, but I really would recommend that you plan on getting an NVidia QuadroFX card as soon as is economically possible. Avid MC, as is Liquid, has to be treated with respect.

You need to run a dedicated machine. You need to read and try and follow the recommendations. Otherwise you will run into problems, and help may not be forthcoming so readily if you are trying to run the programme on components that are not on the certified lists. Of course, you might be lucky and get away with it.

Just for the record, the picture below shows my computer running MC 2.8 and Liquid 7.2 at the same time!

To do this I had to abandon the recommended ATI cards for Liquid and move up to an NVidia QuadroFX certified card.

Well, in my case, I planned on running the two together. Using Liquid for this and MC for that.

I did this for a few days and then I left Liquid and started to do everything in MC.

I still have Liquid on the same computer. I have not opened it for more than 2 months now.

Another thing I realised very early on is that the learning curve is not so steep if you are open-minded and can accept that you must quickly forget how you did this and that in Liquid and be prepared to learn new terms for old familiar ones and new workflows to accomplish things that were second nature to you in Liquid.
Don’t fight it..... go with the flow. Don’t mumble and complain about Fuses being called Mixdowns and that the timeline looks and works differently.............

I am not running an AVID certified computer. It is a home built one - but I tried to keep as close as possible to AVID’s specs in regards to Video card/CPU/Memory etc.

Here are my present day machine specifications.

(In upgrading to MC 3.0 - I will be making some changes.)

Avid Avid Media Composer 2.8/PC software version. (+ Avid Liquid 7.2),

ASUS PK5 DEluxe/WiFi-AP CH1-14 Mobo,

Intel Core 2 Duo E6850 (3GHz)

4GB Kingston PC2-8500 DDR2 SDRAM,

NVidia Quadro FX 3500 Graphics card,Onboard sound - NVidia 91.85 drivers

Owltech Seasonic- M12-700(SS700-HM)PSU,

Thermaltake Eureka VC8000BWA Case,

Panasonic LF-PB271 Blu-Ray burner

Pioneer Multi drive,Lite-On Multi drive

Logicool X-530 5.1 Sound System,

Canoscan 8600F scanner,Logicool MXR-Revolution mouse,

2 x Mitsubishi DiamondCrysta RDT179V monitors,

Exchangeable caddy system for harddrives.

1 x 250 GB Hitachi DeskStar System Drive with XP Pro (Japanese vers) and Liquid 7.2 plus plug-ins.

1 x 250 GB Hitachi DeskStar System Drive with XP Pro (English vers) and accessory Software + some games

1 x 500GB Hitachi Deskstar for shared data. 2 x 500 GB Hitachi Deskstar for MC/Liquid Render and Media.

Sony Z1J, Sony FX1 cameras

Sony HVR-M25 HiDef Edit deck,

Sony DSR-11 DVCam deck.

Normally, in my untidy screen I would have :

1. The Source and Record windows

2. The Timeline, and

3. A cupboard full of BINs etc. mostly over on the other screen.

Grabbing this full work environment would create very large tutorial files, so I made a special modification for the videos...............

..............

1. I made a smaller area containing the essential windows (red outline) A window similar to this actually will appear in the videos.

2. and 3. The cupboard full of BINs etc, and any pop-up windows that appeared outside the video grab area had to be dragged into the video area.

Sorry, if this confuses you ..... in reality when you are starting to use MC, you will not have to work with these limitations.

My editing in Liquid for the past 2 years has been in HighDefinition from HDV sources. Some of my experiences may not apply to users who are working in Standard Definition.

Another factor to consider is that you may be installing Media Composer 3 and that my observations in MC 2.8 may not be completely accurate for MC 3.

A good tutorial page for new-users (albeit for Free DV) is at:

http://www.avid.com/products/freedv/tutorials/index.asp

other useful tutorials can be found at:
http://learn.avid.com/content/tutorials/ and

http://www.avid.com/community/tutorials/index.asp#format

Kumamoto, Japan

Monday 21st, May, 2008

If you would like to download this PDF file, I suggest you righ-click HERE and download it to your computer.

Shift 'n Map

drbgaijin — Fri, 23 Oct 2009 22:55:37 GMT

It is mentioned in the User Guide, it is so simple, it is so basic, it was staring me in the face.

But I could not see it for the trees!

Then just a short time ago........................

Regards,
Douglas

(Please visit the site to view this media)
This tutorial can be viewed at "Full-screen" by clicking on the icon on the toolbar

Part 1 - Avid Media Composer + AvidDVD (DVDitPro HD)

drbgaijin — Sun, 09 Nov 2008 09:29:26 GMT

This is the first of a 6 part tutorial on how I am using Media Composer along with DVDitPro HD (AVID DVD) to author and burn Blu-Ray disks and DVDs.

NB. There is a “Full-screen” mode button on the control panel under the screen!

Part 1 clarifies a few points that should be understood before viewing the tutorials.
It also describes a way to avoid the "long GOP" error that can occur if you are using HDV media.

Regards

Douglas

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Deko & Clip AutoUpdate Utility

Shirley Oxendine — Thu, 08 Oct 2009 19:07:05 GMT

ClipAutoUpdate is a free Avid Deko utility that monitors a specified clip folder on the E drive for new clips that are added to the folder and automatically transcodes any new clips added to the folder to use in Deko and imports the clips automatically to the designated clips database. ClipAutoUpdate.exe is an executable program and is located in the C:\Dekoxxxx\Utilities folder.

For ClipAutoUpdate to operate it must be launched and configured to actively watch a folder for any changes to the folder. If it is launched after files have already been added to the folder, it will not import those already existing files.

To start ClipAutoUpdate.exe launch it from the Utilities folder and configure it to monitor a clip folder and update a specified clip database with changes to the folder. (Navigate to C:\Dekoxxxx\Utilities and double-click ClipAutoUpdate.exe to launch the program.)

Deko supports two types of clip databases: Standard clips and Power Clips. Standard clips are full screen, or full resolution, clips. Power Clips (Deko3000 only) are smaller-sized clips, such as ‘moving headshots.’ Power Clips are contained in a database separate from the Standard clip database (Select View > Clip Editor > Context > Type. Both types of databases can be monitored with ClipAutoUpdate. AutoClipWatch can be configured to watch separate folders for Standard Clips and Power Clips (both must be housed on the E drive) and will update separate databases with changes to each of the folders. It can also be configured to monitor for additions of specific file formats (i.e. *.dv, *.mov, etc.) and import to the appropriate database only if these file formats are encountered.

Power Clips Note: PowerClips retain the *.mov file format and are not transcoded into *.mxf files.

ClipAutoUpdate automatically adds a clip to the Deko clip database using the filename’s base as the database item name. Since Deko uses separate files for video fill and video key, a suffix is added to the basename as ‘_v’ for video fill and as ‘_k’ for key (i.e. matte, fill). For example, a blue.mov file that has an embedded key will import into Deko as blue_v.mxf and blue_k.mxf.

Note: Since ClipAutoUpdate uses the base filename for the database entry, two clips with the same name cannot be inserted into the database (i.e. Filename.dv and Filename.mov do not import as two distinct files).

Avid for Liquid Users: Lesson 1 - Who is this upstart?

drbgaijin — Wed, 21 May 2008 03:24:13 GMT

Who is this upstart?

Before getting on with the tutorials I would like to give a short presentation of myself and the ideas behind this tutorial.

My birth is shrouded by the mists of time, but I do remember playing golf as a 6 year old - after all I was born in St.Andrews, Scotland!

I gave up golf at the age of 14 to turn to Judo instead.

Not wishing to bore you with details I will jump forward in time to 1968 when I moved from St.Andrews, Scotland to Öjebyn in Sweden.

Eventually I settled in Upplands Väsby (northern outskirts of Stockholm)

Before Microsoft unleashed Windows I was introduced to computers through the Sinclair ZX1!

Moved on to the Commodore64 and got interested in computer graphics.

Next the Amiga 500 and got interested in digitising pictures

Then the Amiga 1200 where I digitised my first video in 16 shades of grey!

I would have liked to move up to a Mac but money did not allow..... so it was time to abandon the dying Amiga and try this new fangled Windows stuff!

Next step was to FAST StudioDV, then in my late 50’s I decided it was time to leave Sweden and, as I felt I was maturing as an adult, move to Japan and get married!

About 2 years after moving here I abandoned FAST StudioDV and bought Pinnacle Liquid Edition.

Upgraded about a year ago to Avid Liquid 7.2.

Then on the 14th of February 2008 I stepped up to Avid Media Composer (PC-software version)

What is glaringly apparent in this story is that I have little or no formal training with computers - editing films, editing videos or any other things that might make me look like a knowledgeable person in the field of NLE’s.

That, I feel, is my strong point!

When I realised that some other Liquid users would probably be following in my footsteps I got this idea of putting together a tutorial of short videos to help them acclimatise.

Avid has already a very large library of excellent tutorials produced by professionals on their website.

Also MC comes with 2 very thick manuals which cover all the aspects of the programme.

Also there are the user forums where you can get some good help and advice from long-time users of MC.

No! - this little tutorial of mine is designed to explain the first pitfalls and brick walls a Liquid user is likely to meet after he/she opens their first project.

I only started about 3 months ago and I can just remember my first steps with MC.

I was lucky to have the help of another Liquid user, Mark Harvey, who had taken the step to MC quite some time ago. I pestered him daily with stupid beginner questions.

This tutorial is to try and help new Liquid migrants and at the same time to spare Mark from a barrage of similar questions from the migrants!

Douglas,Kumamoto,
Japan, 21st, May, 2008

If you would like to download this PDF file I suggest you right click HERE and download the file to your computer.

Mega Time-Saver: The Compression Preview Tool

cobyrich — Thu, 30 Jul 2009 22:44:22 GMT

The biggest complaint that I had when searching for the "exact right" compression settings is the time that it took to encode a file, over and over again, once I had modified the settings or tried a new codec. Well, this headache can be virtually eliminated with the Compression Preview Tool in Squeeze. This relatively obscure tool is found directly under the beginning of the timeline in the preview window.

To create a compression preview I must first import a file, apply an audience preset and make any changes in the preset as needed. Next, I need to place the play head in the timeline of the file where I would like to see the preview. Using the pull down arrow on the right I can choose a specific time period between one and five seconds that I would like to encode. Once the time is chosen Squeeze shows me the time of the video that it will encode.

Lastly, I just click the play icon next to the drop down and Squeeze creates the preview and launches it in my default player. This tool is particularly useful when I'm choosing the best codec or data rate to use, and especially when I'm working with long form video. The preview gives me a good idea how my final compressed output will look, without taking the time to encode the entire video. This way I can add filters, change data rates, switch codec and tweak the settings to my hearts content until I am completely satisfied with the look of my video.

Copying and Pasting Clips

drbgaijin — Thu, 07 Aug 2008 05:04:22 GMT

This tutorial deals with 2 methods of copying and pasting clips on the timeline.

Regards,
Douglas

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This tutorial can be viewed at "Full-screen" by clicking on the icon on the toolbar

Restricting Clip Movement when Moving between Tracks

drbgaijin — Thu, 07 Aug 2008 05:09:30 GMT

This tutorial deals with an easy way to keep clips restricted to vertical movement only, when moving them from track to track.

Regards,
Douglas

(Please visit the site to view this media)
This tutorial can be viewed at "Full-screen" by clicking on the icon on the toolbar

AudioSuite Timeshift Plugin to shorten Audio Clip

drbgaijin — Thu, 07 Aug 2008 04:23:29 GMT

The title almost says it all.

This tutorial deals with one way of shortening audio tracks by using the TimeShift plugin in the Audio Suite.

Regards,
Douglas

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This tutorial can be viewed at "Full-screen" by clicking on the icon on the toolbar

New SWF templates for Squeeze 5

judall — Fri, 31 Jul 2009 17:54:11 GMT

A few months ago I decided to create a few new SWF templates for Squeeze 5. You can find them here:

http://blog.sorensonmedia.com/?p=63

When you have downloaded them, put your new templates here:
C:\Program Files\Sorenson Media\Sorenson Squeeze\templates (on PC)
or
Macintosh HD > Applications > Squeeze > Templates (on Mac)

Then open Squeeze and apply a SWF audience preset. Hit the [+] button to drop down the presets codecs and the Player Options. Double-click the Player Options to edit the player options window. Go to the Player Templates tab and choose what player template you want to use.

Here are a couple screen shots of the templates:

Beach Pawn

Front Frame

Not too much better, but usable.

-Jeff

How to create a Flash 9 F4V file without the SWF

cobyrich — Thu, 30 Jul 2009 22:41:32 GMT

There are a couple of ways to produce high quality h.264 files for Flash playback in Squeeze. Currently, you can use one of the intelligent Flash 9 .swf presets. This will create two files, a .swf file and a corresponding .f4v file that can be played in the .swf or separately in your default Flash player.

I often get asked how to create a Flash 9 .f4v single file without the .swf file. This is easy to do in Squeeze. Start with a new MPEG 4 preset. You can get this by clicking the + (plus) button at the bottom of the Audiences section. Name the preset whatever you want. Be sure to make it unique so you'll easily be able to find it in the future.

Next, you need to constrain the file type to Flash. Do this by selecting Adobe Flash 9+ under the format constraints pull down. Leave the stream type on Non-Streaming if you will be showing this via progressive download. Now, under the video section choose the Main Concept H.264 codec and choose either a 2 pass VBR or Multi-pass encoding method. This will give you the best quality possible.

For my preset I'll use a nice middle of the road broadband setting so I'll set the video data rate to 768 kbps and the frame size to 640 x 360. Click unconstrained frame rate and a frame rate of 1:1. Because this will be played back online we can change the AVC profile to High. This will give us great default quality, but I always like to bump the b-frames up to 2 or 3.

Now that we have the video sorted out we need to adjust the audio settings. Keep the aac audio, but bump the data rate up to 64 kbps and change the channels to stereo.

Now click okay and your preset is finished. Notice now that it is under your MP4 settings but it has a small Flash icon next to it telling us that we can use it in Flash 9.

Blu-ray Made Easy: A three part guide from Avid editing systems to Sorenson Squeeze to Avid DVD by Sonic

Matrix is a Lie — Wed, 18 Mar 2009 23:33:44 GMT

I've created a three-part tutorial on Blu-ray burning with Avid Media Composer, Sorenson Squeeze, and Avid DVD by Sonic.

Download the tutorial: Blu-ray Made Easy [PDF]

It covers the following parts:

• How to export from an Avid HD project (in Avid Media Composer)
• How to use Sorenson Squeeze for creating Blu-ray files
• How to burn to Blu-ray using Avid DVD

To burn a Blu-ray DVD you must have the following:

• Avid Xpress Pro 5.6.x / Avid Media Composer 2.6.x or higher
• Avid DVD 5.6 or higher
• [optional] Sorenson Squeeze 4.3 or higher
• A Blu-ray burner (internal or external will work)

Make sure you are using compatible versions of the Avid editing system with Avid DVD (e.g. for Avid Xpress Pro 5.7.x use Avid DVD 5.7 / for Media Composer 2.6.x use Avid DVD 5.6)

Download the tutorial: Blu-ray Made Easy [PDF]

*This tutorial was used with P2 material shot at 1080/24p, from a Panasonic HVX-200. The results may vary with XDCAM HD, HDV, RED files, etc. but the processes should be similar to this tutorial. All feedback is absolutely encouraged, from others who have used different formats for this process.

Video tutorials coming soon. Click on the Email Subscription button at the top of this post to get an alert when I post the video tutorials!

Avid console commands

Avid Community Team — Mon, 17 Mar 2008 00:53:11 GMT

In the Avid console, type: Help Commands. Then hit the 'return' key on Mac-based systems or the 'Enter' Key on Windows-based systems. This will display the entire list of console commands as a text document which can be saved or printed.

Useful Console Commands - Media Composer, NewsCutter or Symphony.

Avid Community Team — Fri, 27 Jun 2008 22:28:42 GMT

Useful Console Commands

A subset of console commands (P) = Persistent, (NP) = Non-Persistent.

A detailed description of some useful console commands is available below. Help Commands - List all console commands.

To write the full list out to a file, use:
Log <filename>
Help Commands
Log

AcplGpuEffects true - displays current state of ACPL GPU effects processing and if installed graphics card is qualified to do so.

BackRevCC - Allows Nitris and Adrenaline (ver 2.x) Color Correction effects in the currently
loaded sequence to be saved in a format compatible with Meridien (NP)

CheckSequences - Checks all sequences for internal inconsistencies

DumpFXSummary - Effects contained in a sequence are printed to the Console, new in MC3

DumpSourceSummary - Sources contained in a sequence are printed to the Console, new in
MC v3 Edo any/acplcpu/acplgpu/hw/sw - "Effect Domain Override" forces effects processing to
occur in the specified domain. Any = default. (NP)

RepairSequences - Attempts to repair sequences with internal inconsistencies

Subsys monpane debug - Allows precomputes to be loaded into source window (NP)

ToggleHWDecode - Disables the hardware codecs (NP)

WatchSequence - Continually check the sequence in the timeline for internal inconsistencies,
popping up a message the moment one is detected.

Before you shoot, download the new Camera Compatibility Fact Sheets

Avid Community Team — Wed, 27 Aug 2008 21:51:41 GMT

Newly redesigned and updated Camera Fact Sheets are now available on the Avid Whitepaper Library for:

- Sony XDCAM Camera Fact Sheet (includes XDCAM, XDCAM HD, XDCAM EX)

- JVC ProHD

- Panasonic P2 Camera Fact Sheet (includes DVCPRO HD, AVC-I)

- Canon HDV Camera Fact Sheet

These handy PDF reference sheets include supported camera and device models, a mapping of the camera formats to Avid project types, workflow benefits, and a sample workflow.

File-based acquisition

Jim Alfonse — Thu, 16 Jul 2009 14:04:30 GMT

File-based acquisition Jun 1, 2009 12:00 PM, By Nigel Arnott reprinted from the Broadcast Engineering website

Acquisition formats should be a primary concern in file-based environments.

The file-based environment has become highly desirable, and there are very compelling reasons for this. Once we break away from real-time transfers, then we open up the possibility of new workflow where content moves swiftly from place to place.

The reality of the situation is rather different, because it is not quite as simple as it seems. We all know what an analog or SDI signal looks like, but when you get into file-based systems, there are many different varieties of files.

VARIATIONS AND STANDARDS

One leading asset management system has more than 180 different flavors in its library. This is certainly not even all the possible permutations of video format, codec, bit rate and wrapper.

Some of these variations are designed for different applications. A self-contained QuickTime sequence, for example, has three variants. MXF uses the frame wrapper, which contains a video frame with its associated audio, then the next video frame and audio, and so on. That makes it ideal for playout, where you might want to start and stop at any point within the sequence.

But it is challenging to write in a low-power device, so many ENG cameras use the clip wrapper, which writes all the video frames in a shot followed by the audio tracks. This is also supported by MXF.

There's also a compromise version, the mixed wrapper, which has a block of video frames followed by the audio, then the next block of video frames, and so on. Final Cut Pro usually produces QuickTime in this form.

Standards would certainly help in this area. MXF was the original attempt, but it has not yet been fully successful, largely because the original incarnation was drawn so widely that files generated by one device could be MXF compliant and utterly incomprehensible to another vendor's MXF-compliant system.

The work done by the consortium driven by Turner Broadcasting has positioned MXF as a more useful format, but it is still not universally recognized.

There are other standards in the pipeline, too, such as MPEG-7, which defines technical metadata in the media and how systems can store information automatically from derived technical information. True interoperability of the kind we had when BNC to BNC or XLR to XLR always worked depends on the widespread adoption of standards.

Until then, systems integrators are faced with rewrapping and transcoding between different devices and various stages of the content pipeline. These processes take time and can cause degradation of the signal. Both are blocks to the seamless workflow that is the promise of the file-based environment.

The best-case scenario would surely be to avoid transcoding anywhere in the system, but that is relatively unfeasible. For now, we have to acknowledge that the acquisition codec, the editing codec and the transmission codec are going to be different and optimized for each area.

ACQUISITION

It is a fundamental principle understood by broadcasters that quality lost at the beginning of a production chain can never be recovered, so acquisition should use the best possible codec.

If we ignore the constraints of file-based systems, probably the best practical acquisition format for broadcast video is 10-bit 4:2:2.

So why, then, would we compromise on that quality just because it is being recorded as a file rather than onto linear tape? Advancing technology should not mean deteriorating quality.

Content captured at 10-bit 4:2:2 HD can be acquired using AVC-Intra or JPEG2000. Quantization at 8 bits, or even more drastic color subsampling, will produce visibly inferior image quality and will cause problems in green-screen work.

The difference between AVC-Intra and JPEG2000 is that the first is an MPEG-type codec based on discrete cosine transforms (DCT), and the latter uses wavelet compression. AVC-Intra can also use temporal compression, using information from one video frame as the basis of other frames in a group of pictures, whereas JPEG2000 is an intraframe compression scheme in which each individual frame is complete in itself.

The DCT algorithms implemented in MPEG and AVC-Intra split the picture into blocks and process each individually. When the encoder or decoder comes under stress, these blocks can become visible. Wavelet encoding, on the other hand, processes the entire picture as a single entity (up to 4K by 4K resolution in JPEG2000), so blocking is impossible. And if there is any stress on the compression engine, the result is a less obtrusive softening of the picture.

One consideration we have to make when selecting the compression algorithm is that of basic science. The more effective the compression, then the more processing is required. Because Moore's Law helps us with more power in smaller chips, this is less of an issue, but it needs to be in mind when balancing considerations in the choice of a camera. Better quality means more processing, which means a bigger (heavier) battery and potentially more heat to be managed.

DATA RATES

In the article “Tapeless camcorders” in the January issue of Broadcast Engineering World, the editor opined, “Camera operators have come to expect a record duration of around two hours from a single cassette, again setting an expectation for different media.” That is an important point. We cannot force a reduction in efficiency just because we are moving toward a file-based approach. So bit rates have to be balanced against storage capacities to ensure that expectations of recording durations are met.

There are camcorders that support a number of codecs and bit rates, allowing the operator to choose the right tool for the job. The best possible acquisition quality is 10-bit 4:2:2 HD encoded using JPEG2000 to 100Mb/s.

As a simple rule of thumb, 100Mb/s is about 1MB per minute of storage. On a 65GB disk, that comfortably exceeds one hour of storage; likewise, with two relatively inexpensive 32GB professional CompactFlash cards, this benchmark can be achieved.

At this point, the issue moves away from one of bit rates to a question of storage. In the days of SD digital television, people got very blasé about file sizes and built workflows around ingesting everything and sorting it later. In HD, users need to be more careful.

A one-hour drama that has a 10:1 shooting ratio — not atypical — has 450GB of raw data, which is not in itself a huge problem; it is common for PCs or Macs used for editing to have local storage measured in terabytes. But you have to move that content in and out, usually across a network, which is also busy with other traffic.

If there is another device in the way to flip the content from one codec and/or wrapper to another, it can add another significant time penalty. News is the most time-sensitive content, and that can usually exist with a lower bit rate codec (although the need to transcode will still be an issue). But you might want to create a highlights package from a prestigious sporting event, in which case waiting for a format flip could be a big problem.

One solution is to move away from ingesting everything toward a preselection process. Offline editors could browse the lower-resolution versions that are created as a part of JPEG2000 encoding to browse for the best takes.

An important workflow boost is to use an editor that can access the camera material in its native format. Using the CineForm intermediate codec, for example, you can keep 10-bit 4:2:2 HD intact and import it straight into Final Cut Pro. The editor can accept a large number of codecs, including 100Mb/s JPEG2000, directly into the timeline.

These two solutions can then be combined, if the acquisition media can be connected directly to the editor. The content can then be browsed directly from the acquisition media with only the required takes pulled into the editor, and then transferred to a central archive as a background task as network traffic allows.

CONCLUSION

This article has focused on top-end HD acquisition and file-based workflows, because that is the most tested environment. HD production is about quality, so it's important to capture and deliver the best possible quality.

The same lessons apply to other applications. News, for example, may trade off some quality for smaller file sizes and editing speed. It is still critical, though, to ensure that the whole workflow is clear and without bottlenecks. File-based systems should make life easier, not more complicated.

There may be a case, for example, where a real-time HD-SDI transfer between two devices is actually quicker than passing a file through a format flipper. It may not be as “sexy” as a file-based workflow, but it might get the job done.

In planning for file-based environments, the acquisition formats have to be the primary consideration. This sets the quality standard for the rest of the network, and it should be maintained as far along the pipeline as possible. With today's technology, that bar can be set very high indeed, with 10-bit 4:2:2 HD and excellent compression algorithms now readily available in practical and affordable camcorders.

Nigel Arnott is marketing development manager for Infinity at Grass Valley.

Source: http://broadcastengineering.com/iptv/file-based-acquisition-0609/

Jim Alfonse
Tri-Sys Designs
www.Tri-SysDesigns.com
jim@tri-sysdesigns.com
These general interest articles are sent out occasionally as a service to my friends and clients. Enjoy. All views and information are presented by the credited author and/or website. If you know of anyone who you think would like to receive these articles, have them send me an e-mail.
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AvidFX Text Tool - 1

drbgaijin — Tue, 06 Jan 2009 02:47:43 GMT

I guess that because there are already two text tools in MC the Text Tool in AvidFX is often overlooked.
When it is not overlooked I imagine that many newcomers are, like I was, intimidated by the interface.
In actual fact, as long as you don't try running before you learn to walk the basics of the Text Tool are quite simple. By "basics" I mean really basic basics!

Hope this tutorial will inspire you to new adventures in AvidFX Text Tool.

Regards
Douglas

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Media Composer Keyboard Shortcuts Has Moved

Larry Rubin — Tue, 25 Nov 2008 01:21:16 GMT

Here's one we ought to make a sticky of:

http://www.moviola.com/keyboard_shortcuts_for_avid >>>>NO LONGER VALID<<<<

A nice comprehensive list for both PC and Mac.

{EDIT} July 5, 2009 - This link has now officially moved to the following location:

http://hershleder.com/avid_information#tips_tutorials

Click on Tips and Tutorials, then scroll down the list and click on "keyboard shortcuts".

Setting Sequence Starting Time Code

Hershleder — Sun, 05 Jul 2009 17:34:19 GMT

Sometimes, it's the little things that make all the difference....

Visit: http://hershleder.com/avid_information

Tutorial is titled:

TIME CODE – Setting Sequence Starting Time Code

BTW: I only show two of the three methods. The third method is to simply type the new TC into the Starting TC column in your bin. The specifics for this method differ depending on your version of MC, and IMHO the 2 methods I show are faster.

Converting Slides to Streaming Video

Adam Kranitz — Fri, 10 Oct 2008 17:15:29 GMT

Converting Slides to Streaming Video
By Michael Kennedy, Squeeze Expert User
Reprinted from Sorenson Media October 2008 Newsletter

I am often presented with PowerPoint slides that I want to stream as a video. The best and fastest method for converting a PowerPoint presentation into a streaming video presentation is to use Squeeze. I use this method:

1) Simply convert the PowerPoint presentation into a graphic file, such as a jpeg ("Save as" from within PowerPoint);

2) Import all the PowerPoint slides into a video editing software application;

3) Import any audio files that are part of the presentation into the video editing software application;

4) Sync each PowerPoint slide and any audio;

5) Export this new clip as a raw video file;

6) Import this raw video file into Squeeze, and use Squeeze's wmv settings to make the compressed wmv file;

7) Lastly I upload the compressed wmv file into the streaming server and I have a streaming PowerPoint presentation in relatively short time.

So, the next time you are offered, "I have a PowerPoint," rather than ignore the comment, or say, "Ummm, I really don't care for PowerPoint presentations"; you can smile and say, "Great, I may use it as I put your presentation together."

New Nested Effects Technique in Media Composer 3.5

camoscato — Wed, 06 May 2009 10:08:14 GMT

For those of you who do a lot of heavy effects work, you know how tedious it can get when you need to adjust an effect that is deep inside a multi-effect nest. In Media Composer 3.5, Avid has added a new twist, allowing you to adjust every effect within a nest - without stepping in - using the Effect Editor.

Let's say I've got a shot with a 3d Warp on it, and later on I color correct it, nesting the 3d Warp inside. Pre MC 3.5, I'd have to step into the nest if I wanted to make any adjustments to the 3d Warp. Now, though, in MC 3.5, all I have to do is bring up the Effect Editor.

Take a look at the image below.

The Color Correction effect, which is at the top of the nest, is listed first in the list of effects on the left side of the Effect Editor. Just below it is the 3d Warp, and if I want to adjust the parameters of the 3d Warp, all I have to do is twirl down the arrow next to it. Stepping in not required. (The only gotcha is if the 3d Warp hasn't been promoted to advanced keyframes, you'll have to promote it, but this can be easily done from within the Effect Editor.)

To recap: Old way - step into each effect of a nest to get to the layer underneath. New way - One window to access every effect in a nest.

Now go forth and step in no more.

Audio Level Adjustment in v3.5

Hershleder — Sun, 31 May 2009 07:55:39 GMT

Look for:

"AUDIO – Level Adjustment Features in Version 3.5"

at this link:

http://hershleder.com/avid_information

Plus, there are other tips and tutorials there as well.

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

Post Production / Computer Related Humor:

http://hershleder.com/humor_page (opens in a new window).

Adding "Black" vs "Fillers"

drbgaijin — Wed, 17 Sep 2008 21:53:42 GMT

In response to a question in the MC PC Forum I made a "quick" video tutorial.
The thread in the forum continued to get responses from other users and now contains quite a lot of good tips about different ways of adding "Black" or "Fillers".

The thread is at:

http://community.avid.com/forums/t/63278.aspx

My "quickie" is below.

NB. there is a maximize button on the control panel..

(Please visit the site to view this media)

Regards,

Douglas

Avid for Liquid Users: Lesson 7 - Long GOP problem /HDV to a QT-reference file

drbgaijin — Sat, 03 Jan 2009 02:05:18 GMT

The seventh in a series of tutorials created to assist Avid/Pinnacle Liquid users who are considering migrating to Media Composer.

Many newcomers, myself included, come to MC with an HDV camera and capture through a firewire card.
Then the first time they try to export a QT-reference file, up pops the dreaded "Long GOP" error message.

Hope this helps!

Regards,
Douglas

(Please visit the site to view this media)
This tutorial can be viewed at "Full-screen" by clicking on the icon on the toolbar

Avid for Liquid Users: Lesson 20 - Source/Record Monitors and Timeline Track Buttons.

drbgaijin — Fri, 30 May 2008 01:11:39 GMT

The twentieth in a series of tutorials created to assist Avid/Pinnacle Liquid users who are considering migrating to or have already migrated to Media Composer.

The realationship between the 2 sets of timeline monitor buttons and the source and record monitors is not always clear at first.
Hopefully this tutorial will shed a little light on the subject.

Regards,
Douglas

(Please visit the site to view this media)
This tutorial can be viewed at "Full-screen" by clicking on the icon on the toolbar