Avid Media Composer: Avid Editor Quicktime Work Flow For Proper Brightness Levels

Chapter: Editing

Topic: Capture, Digitize, Import

There seems to be a decent amount of confusion about which settings should be selected when exporting a video as Quicktime and then importing the Quicktime movie into an Avid editor. In this article I will describe the proper settings for exporting video out of a third party application such as Adobe After Effects using the Avid Quicktime DNxHD codec and then importing the Quicktime DNxHD movie into an editor. Four workflows are shown, one of which is invalid. This same workflow should hold true for all the Avid Quicktime codecs. It will not apply to non-Avid Quicktime codecs.

http://www.kwancentral.com/blog/post/2008/07/Avid-Editor-Quicktime-Work-Flow-For-Proper-Brightness-Levels.aspx

Avid 24p – The Basics

Chapter: 24P Film or Video

Topic: Editing 24P Source

24p benefits projects where image material originates in a progressive form at 24 fps, or possibly 25fps (i.e., film or 24p video). Any system with the Universal option is a frame based nonlinear system for television, where the final product mastered directly out of the Avid is intended for NTSC or PAL. The Universal option also allows creation of multiformat EDLs for HDTV online mastering, and the creation of true 24fps film Cut Lists and Change Lists for 16mm, 35mm 2-perf, 35mm 4-perf, 35mm 3-perf, 35mm 8-perf, 65mm 5-perf, 65mm 8-perf, 65mm 10-perf, 65mm 12-perf, and 65mm 15-perf.

http://zerocut.com/tech/p24.html

TAGS: Telecine, Digitizing, display, progressive, interlace, Aspect ratio

Avid Film Composer: 30 Frame Capture in a NTSC Film Project

Chapter: 24P Film or Video

Topic: Editing 24P Source

Film Composer 6.5.1v1 (forward) allows capture of 30 frame film based material into a 24 frame project. In 6.5.1v1 through 7.2 this feature is only available once a Console command has been entered. Once enabled, film to tape transfers that were done without pulldown can now be captured directly into a film project. This feature is principally for special effects that are generated on a frame to frame basis to tape and need to be integrated into the film project. Picture only digitize is available when this mode is active. 24 frame and 30 frame capture can be edited together in the same sequence.

http://www.zerocut.com/tech/30in24.html

Going from 30 to 24 fps or 24 to 30 fps with Avids

Chapter: 24P Film or Video

Topic: Editing 24P Source

Quick techniques for going between 30 and 24 fps on Avid Meridien and ABVB systems and from 24 to 30 on those systems. Would probably also apply to Adrenaline and later versions of the software.

http://www.zerocut.com/tech/24_30.html

TAGS: film, relink,

Avid Xpress Pro: Modify Source Reel Names in Avid

Chapter: Editing

Topic: Clip and Media Management

A common question from editors is “How can I change the names of the tapes that my assistant logged for me?” Here I will show you how you can change the name of a tape. This is not the same as modifying a clip’s source, I’m referring here to taking an existing source tape and telling the Avid to call it something different. The tape is the same, no timecodes are changed, we’re just changing its name. Shows OS 9 screen shots and may be slightly dated, although the principle will be the same.

http://www.wesplate.com/helpful/modify_source_names/index.html

Video Digitizing Tips and Tricks

Chapter: Editing

Topic: Editing Hardware

[Although a little dated now, the techniques are still worth reading.] Despite what some salespeople would like us to believe, there is more to digitizing video then simply plugging in a board and pressing a button on the screen. The manufacturers and software developers have given us marvelous tools to work with, but just as important as the tools themselves is understanding how to use them, and how the final use of the digital video influences the techniques that should be used.

http://www.synthetic-ap.com/qt/tiptrick.html