I have read that the ISIS 1000 system is using Avid Dual Disk Protection and on the Workspace level.

Should I as a administrator think different when creating and maintaining the configuration on a 1000 system compared to the 5000/5500 systems?

Create more Workspaces for each project and just not only one?

One of my clients have asked for "mirroring" on the ISIS 1000. On the 5000/5500 systems you can use the replicating option, have one exact same configurated 5000/5500 system and run that as a copy. Is it the same setup for the 1000 system?

Perra from Sweden

I recently built an Avid Adrenaline HD rig (dont ask) Looking around on Ebay I saw something called an Avid AirSpeed...which looks like a rather neat device. This was before my time doing video I think, but does anyone know if this can operate as a stand alone without having an Avid Unity Engine on the network. The manual said it can use internal drives to record video? It seems to have quite a few "requirements" but seems like it could possibly act as a stand alone. I noticed the Unity ran Windows 2003 server, which makes me wonder if I have a PC with attached storage and was running the Unity Software, would the AirSpeed pick up on it?

I'm running into an issue that is seemingly intractable.

I'm working on a feature. The original assistant labelled clips with various colors related to the ingest, white for problems, purple for MOS, etc.

The editor wants to see clip colors in the timeline to visually differentiate between VFX clips, source music, score, sound effects, and reshoots.  

So I turned on 'Source' in the timeline's "Clip Colors" options window, and all the initial-ingest-related colors showed up in the timeline. These colors are no longer relevant to us. The timeline looked like a garish 8-bit Jackson Pollack.

So I opened all the synced dailies bins and changed all the clip colors to 'none'. Then I opened all the reshoot bins, music, SFX, and VFX bins and set the color of those clips. The timeline looked great and orderly. Most clips were not colored (well, they were Media Composer's unobtrusive default clip colors, a dark-ish salmon for video on dusky light blue for audio). The clips we wanted to keep track of were easy to spot. My job done, I closed all the media bins.

Later, the editor opened up a month-old sequence from a different bin, and the ingest coloration was visible on many clips in the timeline. I opened the latest timeline, and the old clip colors were back. I match-bin'ed from unfortunately-colored clips back to the media bins, and the clips that I'd set to 'none' were once again colored. 

I repeated my ponderous purge of source clip colors, and all was well with that old sequence and the latest sequence. Then an hour later, the editor let me know the irrelevant old clip colors had returned. 

I also tried closing all bins, opening up the Media Tool, and changing clip colors to 'none' from within the full list of media on the project's media drive. This had no effect on the timelines that I could see.

Has anyone else run into this problem and if so do you have a solution?

My guess is that source clip colors are stored with the references to the source clips in the bin containing those clips, and also each timeline or the bin containing each timeline also includes its own list of source clip colors (so that you can still see source clip colors when a timeline is open and loaded into memory but the bin containing its media is not). In a perfect world, the timeline's temporary memory of the last source clip color data should refresh itself with the latest source clip color data when the bin containing the source clip is opened. --But it appears that this can go in the opposite direction and opening a timeline and then a media bin can result in the clips in that bin acquiring the ancient colors dating to when that sequence was last saved?

Without knowledge of what's happening internally, I'm at a loss to figure out a solution to this problem. I'd love to find a good workaround at least, as it's rendering source clip color a less useful tool for visualizing a timeline.

Thanks for any help or info.

PS. The autocomplete function of this "Post a message" form's "Tags" field is so aggressive that it makes it very difficult to actually enter tags. To experience this difficulty, just try entering the word "Media" -- it'll change your input to misspellings as soon as you get to "medi", and it's a tough slog to fight it and correct all the typos and problems.

I read some books and videos about avid, most of them do not talk about how to edit a film. my question is what is the best workflow for editing a film?

can someone share some book or link to me? 

we got the videos and audios, if I need to the audio to replace the video's sound, should I just import the videos (only the image) and the independent audios? and mix them first? 

thanks

Avid is pleased to announce the release of Media Composer | Software v8.5.

HOW TO GET:
The latest update to Media Composer is available worldwide as of January 29th, 2016 from the Avid Download Center or through the Application Manager.

The ability to launch Media Composer software is dependent on the status of the customers Upgrade and Support Plan on the date this software version was released.

 - Please read the How to Update Your License page before upgrading to this release.

 - More detailed information is also available on the Upgrade and Support Plan FAQ page.

 - The FlexVersioner, as has been stated in the past, is no longer supported for this release.  See the Support Upgrade article for instructions on how to upgrade your dongle based  or SW licensing based System.

NEW FEATURES:
Some of the new features in v8.5 include:

 - Menu Simplification: The menus have been reorganized to remove legacy menu items and simplify the user experience.

 - Timeline UI Improvements: A number of updates have been made to the timeline, including enabling Sync Rollers for Sync Locked Tracks, the ability to see full segments as you drag them within the timeline as well as the effect their repositioning will have on the rest of the timeline before you commit the change, and creating a new track by dragging a segment above the timeline.

 - Support for 64 Tracks of Audio: Users can now create and work with 64 individual tracks of audio.

 - Group by Audio Waveforms: Group clips can be made based on audio waveform analysis.

 - HDR Support: Media Composer now includes color spaces for High Dynamic Range (HDR). This provides support for a higher range of video signal, and enables automatic color transformations for source files based on the HDR color space set in the project.

 - Audio Mixer Updates: You can now resize the Audio Mixer and create custom track groupings.

 - FrameFlex Rotation: Users can rotate the framing box in the FrameFlex source settings using the Z rotation slides, enabling the straightening or reframing of an image at the source level rather than in the timeline.

 - Interactive Video Frame Cache: A new Video Memory tab has been added to the Media Cache settings to allow users to save generated frames of the current playing sequence into a memory storage cache, resulting in faster response times while editing and playing back media.

 - UI Personalization Tools: Additional UI settings have been added to allow users to change the background color of the Project Window and Timeline, and override Bin and Project fonts and font sizes.

 - Bin Columns Updates: The process for adding Custom Columns as well as Multiple Columns in bins has been simplified, and you can now copy and paste the same text to multiple fields within a column.

 - Identifying Rendered Effects: Users can now choose to differentiate between rendered effect media and Title and Matte key effect media in the Media Tool. This is helpful when identifying media to delete.

 - Ancillary Data SCC Import: Media Composer now supports importing of Scenarist Closed Caption (.scc) files.
…and more!

OS SUPPORT:
This release continues is supported on Mac OS X 10.9.5 (Mavericks) and 10.10.1 through 10.10.5 (Yosemite) AND introduces support for OS X El Capitan (10.11.3).

NOTE: To those users upgrading to El Capitan, please deactivate & uninstall Media Composer FIRST, upgrade the OS, then reinstall Media Composer.  If you use Avid Artist DNxIO, you must also uninstall the Desktop Video software and reinstall it after the OS upgrade.

README:
The README & "What's New" documents for 8.5 are available here.  As always, please read the docs before upgrading to understand any known issues.

FEEDBACK:
If you have any comments or questions regarding the installation of this version, please post it here.  For other bugs or questions, please start a new thread.

Dear Members

i have these specs

Processor : 3.2 Ghz Quad-Core intel xeon

memory : 16 Gb 1066 Mhz DDR3 EEC

Graphics :NVIDIA Quadro 4000 2048 MB

Software :OS X 10.9.5

with these specs can i install avid 8.5

what can I do for that? thanks.

I'm having issues designating the specific Job URI I'm looking to check the status of.  When I make the new object, it only allow me to go to JobURIs, not the specific JobURI.  I'm wondering if I'm missing something.  I'm having a similar issue on the response as well.

//Call variables from InterplaySetup Class

                InterplaySetup transcodeInterplaySetup = new InterplaySetup();

                //credentials come from InterplaySetup Class

                //cts stands for "Check Transcode Status"; used for brevity

                JobsPortTypeClient ctsPort = new JobsPortTypeClient();

                UserCredentialsType ctsCreds = new UserCredentialsType();

                ctsCreds.Username = transcodeInterplaySetup.interplayUsername;

                ctsCreds.Password = transcodeInterplaySetup.interplayPassword;

                //Set job parameters

                //Job URI comes from Program class that was returned by Transcode class

Here's where I'm having the issue.

                GetJobStatusType ctsParam = new GetJobStatusType();

ctsParam.JobURIs ????

                //send request

                GetJobStatusRequest ctsRequest = new GetJobStatusRequest();

                ctsRequest.UserCredentials = ctsCreds;

                ctsRequest.GetJobStatus = ctsParam;

                //report response

                SubmitJobUsingParametersResponseType ctsResponse = new SubmitJobUsingParametersResponseType();

                Console.WriteLine(ctsResponse.JobURI);

4K Project....attempted to turn proxy mode on.....

Source and record monitors both turn black and show the following error:

VDM3BobVideoOut:Setup:unexpected state

The only way to recover is to exit out of MC and restart application

I downgraded my nVidia drivers from 353.82 to 347.52

edit: this bug seems to be related to selecting 12-bit, as this does not happen in a 10-bit project

what is used for?

thanks

Hello first thing i'd like to know how you use 2 monitor setup, may be i can get an insipration for my way to work.

Then, going to how i work now, i have on monitor 1 Timeline,and bottom and on top the 2 monitor plus the main bin.

I woul like to have all the bins and other thins to open automaticcaly in the monitor 2

how can i do that?

I recently recorded some test footage on a Sony PXW-FS5, which Sony was gracious enough to lend me for testing.  I am able to link to and play the footage in Media Composer 8.4.5 (PDZK-MA2_v3.4.2), but I cannot transcode any of the footage. Everytime I attempt to transcode, the transcode progress bar and estimated completion time will progress normally, but at 100% complete the progress bar stops and the estimated completion time and time elapsed (now matching) will keep counting up indefinitely.  Has anyone else encountered this?

Hi

We have here at Chimney went trough the recommended list about all the different computer configuration but it's hard to know which way to go...

What experiences do you have? If we want a computer for the assistant editor who is importing/exporting a lot, which Mac or Win system should we go for? And how about offline editing? And for online editing, where the editor working a lot with sequences which are around 45 minutes long and a huge amount of clips and tracks..?

Becuase we still just working with ordinary HD material and at the most working with AVC HD Intra 100, it doesn't seems like a good idea to go for the really high-end computers.

Any help and experiences would be helpful!

Perra from Chimney, Sweden

We just discovered a bug with the Avid Artist DNxIO when trying to use any control software installed on the same system. At first, it was the Videohub software, but this also occurs when using the Smartscope software.

While in capture mode, if I try to communicate with any other Blackmagic device on our network, the Artist IO is disabled. The HW/SW is turned off.

I get the following error: "DigitizeWindow::ActivateDevices StartPassthrough failed with ePSIsStarting."

I have contacted BM tech support and they said I need to open a case with Avid. I have done so.

The issue is solid and I have to manually turn the HW/SW back on and reselect all my capture parameters.

We have three Avid Artist DNxIOs with the same problem on Window 7 PCs. MC is 8.4.5. The Desktop Video is 10.5.4. All the Blackmagic devices have been updated with the latest software/firmware.

I spoke to BM tech support last night and they think there is a conflict with the network Port 9990 that communicates to the BM devices. Avid may also be using the very same port at the same time, which is why I am disabled.

I want to turn the 2 mono tracks of clips in a sequence in to 1 stereo track I know how that works in a bin but now I want to do that with clips that are already in a timeline

I found a post about that http://community.avid.com/forums/t/106804.aspx.  and I don't the answer: +1

anybody who help me out

Thanks

Core 

I can temporarily set Thumbnails for the Matte Key clips, but when I close and reopen the bin or even re-save it, they all go back to the purple icon.

Please please allow for these poster frames to stick like any other clip!  Maybe a tiny purple icon in the poster frame to indicate that it's a Matte Key.

Thanks,

Ben

It was just a matter of time before the productions and with the photographer in the lead realized that this is a way of doing their shots..... (oh ***... *lol*)

"We can film this in 4K and then use the Frame Flex feature in MC to get wide, half and clos-up with the same footage! And stabilizing of the footage will also be much better when have the 1920x1080 framing in the 4K material, the footage will not be croped!"

Of course this kind of solutions is doable when done by one person in a small project, but when we are talking a ISIS connected workflow with 8 editors then things become more complicated...

Not only do we need more storage space, faster connection to the clients and much faster CPU based computers... My main concern is actually that they are moving the photographers work into the postproduction! I just feel that the work for the editor will be even more complicated because now they will be able to frame the footage in some other way.

This might sound good, but for the same reasons that changes is done during the project in terms of change order of clips, change music, move frames back and forth, now one more parameter comes into the arena - framing the footage. Do you see what I'm getting at? There's gonna be issues that someone wants to frame the footage "more to the left" - "more to the right" - "in a little bit more" etc. It will be a never edning story...

Have someone ever used this Frame Flex feature? Have you used it in a collaborate workflow? What is your experience about all this?

Hi folks:

I seem to be experiencing some sort of RAM issue with 10.11.3 and MC 8.5, related to waveform display.  I use a Magic Mouse (first gen) on my (late 2010) Mac Pro tower.  The timeline performance seems to work and then not work – ie. fast scrubbing on the timeline will be brilliant one  moment, then not work at all.  Same with scrolling up/down/side to side.  It will work as you'd expect, then stop working – as if the system is chugging to catch up.

I just tried turning off the waveform display, and it seems to work properly.  Even though, it worked fine in the past on 8.4.4, in Yosemite, with waveforms being displayed.

The clips are part of a feature film project – and I hear a lot of disk activity, and it's not my backup systems – is it possible that the AVID is indexing all the clip waveforms in the BG, thus the slowdown?

When I was playing around with the new Media Cache settings, I may have pressed the Flush Frame Cache.  Would that explain it?

Any advice welcome. Hope this post isn't too convoluted...just trying to piece it together.  If 8.5 can work as advertised, I'll be a pretty happy camper!

Thanks, JIM.

THIS IS FYI:
Just switched to MC 8.5 (El Capitan) and it gave me this weird error that my AMA plugin panasonic P2 was incompatible, so I just ignored it.

I tried to render a simple 1 minute clip as an mp4 and it was saying it was gonna take more than 2 hours to render!! What?!

So, I deleted the AMA plugin from Library/Application Support/Avid/AVX2 plugins and everything is rendering at full speed!!

Just thought I'd share this in case anyone else is having this problem. 

Happy editing!

Hi Everybody! Have ya'll ever wondered what good can come out of being multi-talented? For instance, I'm a DJ, a producer, an engineer, and I recently dove into songwriting & graphic design. I know that can sound great to some, but it's just that I find myself wondering can I really balance them all?