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As someone who's recently started doing a lot of single screen laptop editing, a feature like this would be massively helpful for quickly managing screen real estate.
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If running MC software-only resolves the problem this indicates there is likely a problem with your hardware. I've never seen this happen on a Nitris, but we've had firmware become corrupt on AJA IO devices and exhibit the exact same behavior you're seeing. Reflashing the firmware fixes the issue on the AJA hardware. Have you tried this
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I would still recommend you try running Media Composer software-only to see if performance improves. You want to eliminate as many variables as you can.
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Currently, Frame Flex adjustments to master clips are not reflected in group clips that reference this material. The group clips appear as though no framing adjustments were made. Match framing from the group clip back to the associated sub clip shows correct framing, as does cutting the group clip into a sequence. The only time the original framing
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Never worked in reality TV, however I have worked professionally as an assistant editor on features, commercials, and a limited amount of non-reality TV for over 10 years now. I would say 80% of the work I've done has followed a traditional offline/online process and 99% of it has been in large collaborative environments with multiple editors and
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Are you using any sort of external I/O? I was having trouble getting an AJA T-Tap to play nicely with MC 8.3.1 using the latest drivers (v12.1.1). Was getting the exact same hyper-sluggish behaviour you're seeing abd downgrading the drivers to v10.5.2 (which don't even officially support MC 8.3.1) fixed the problem.
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I certainly agree that if you are going to append metadata - especially something major like a tape name - it needs to be done at the absolute top of the stream to ensure it remains intact on every future iteration of the clip. However, it's still not clear to me why you would go through this incredible hassle. I'm not aware of AMA linking being
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I am shocked this hasn't been touted by Avid in one of their "What's New in MC" overviews because it's nothing short of revolutionary if you work with mixed sources. Everytime a new version of Media Composer is released I watch the official "What's new" videos on YouTube and judge whether or not there are any features
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I guess I don't understand the need to maintain tape names for tapeless media. Yes, by default EDL Manager uses tape names for EDL reel IDs, but like I said this is easily modified to use the camroll column which should otherwise be empty for tapeless workflows. And I can't even imagine the amount of time required to modify tape names clip by
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I usually receive dailies already transcoded from the DIT, but if for whatever reason the tape name is missing I just dulplicate the clip name column into the camroll column and set my EDL to reference camroll for the Reel ID. Have done this dozens of times and never had an EDL kicked back from color or online.