AVID: Moving Bins and scenes to a 2 drive.

What am I missing here. I am using the consolidate function, and checking re-link. These are subclips with second system sound.

I'm getting no audio, and some files will re-connect others don't.

I am basically highlighting everything in a bin, and using consolidate. I am totally at sea here.

If you didn't trim the media, re linking should be as simple as scanning the media database on the target drive.



www.strypesinpost.com

A: I need to buy you a beer sometime, really.

B: That's pretty much how I expected/planned it to work.

I ended up copying the other way, and just moving the second project to the larger drive. Which I needed to do anyway, but I know figuring this out is going to be important at some point.

If you where doing two back to back features by the same company, that shared elements. Shot on a C300, with a flat Log analogue profile, would you cut it with premiere? I know your a fan, and would you transcode all the footage or just cut it int the native mpeg MXF?

Re linking in Avid shouldn't be that dicey. There are a set of parameters you can use that would cause Avid to re link, but I haven't tried it extensively with subclips yet.

Native works fine in Premiere. C300 is I - frame only Mpeg2. Premiere handles that like butter and is quite stable with it. In fact, you will realize that you don't even get a render bar with XF footage because Adobe figured that it is simple enough for most machines to play that back in real time.

Yes, I would totally do features in Premiere. In fact, I'd rather cut in Premiere than in FCP7 any day. The operations are so much faster and the program is far less crashy when working with lots of media. The only area I will prefer FCP7 to Premiere is burnt in subtitles. Text from the FCP7 text tool can be exported via XML. Premiere supports subtitle exchange but only for closed captions. But that's basically it.

Premiere doesn't have a source side input LUT like Avid. But what you can do is to throw on an adjustment layer onto a video track, lock it, use a Lumetri effect with the Canon Log to video LUT and cut under that. The lumetri effect is GPU accelerated so it plays in real time. I believe the curves are also GPU accelerated so you can use either for the offline edit. Also, the Canon log profile isn't as flat as the log variants used by the other manufacturers.

Also, if you intend to send the cut to the Resolve, the Resolve supports the Canon XF format, so you still don't need to transcode.



www.strypesinpost.com

Also one nice new feature you will probably love is that you can use sequence markers on your string outs and then export that as an html. So you can have story notes on your markers and it exports like a film contact sheet where you can see a thumbnail where the marker is and you can read your marker notes.



www.strypesinpost.com