Transition from Avid

Hi,
New to the board....wondering if there are any former (or current) Avid Xpro Users. I am thinking seriously of making the jump from Avid to FCP and am curious what the transition was like for folks in terms of learning curve.
I am also a PC not Mac person so I am not all that familiar with the Mac. Would like feedback from people who have made the switch and can help point out the key differences in the software programs and again, the transition. Much thanks.

I moved from Media Composer a few years ago. I don't rate myself a fully fledged editor, more like a dabbler, but I do work in the industry and sometimes make TVCs and corporates.
I found the transition reasonably easy after the first couple of weeks. I do a lot more mouse work with FCP than I did with MC. Transitions and graphics handling is a lot easier in FCP. I still go the long way round via menus to do some operations that I could do directly if I knew more shortcuts, but that applied to the AVID anyway.
I sometimes still use the AVID and now find that a bit frustrating and pedantic. But sometimes that is a good thing!
I don't regret the change and I am sure I am more productive and able to tackle things I would not have attempted on the AVID.
I use PCs for most work and know a lot more about them than the MACS, but once you get used to working with a single button mouse and using keys on the keyboard to modify the action it isn't too bad. You can buy third party mice with multiple buttons anyway if that is the way you want to go.
All in all I think it has been a good thing.
Trevor

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Transferring from AVID TO FCP

A fellow editor would like to transfer his project from AVID MEDIA COMPOSER to FCP (Windows to Apple).
I have absolutely no experience in this and don't even know where to start or what to ask. Does anyone have any thoughts? Advice? Links? Support?
Is it even possible?
Thanks so much.

What do you mean by bringing over the sequence, but not full projects with all the media? Media referring to what?
Meaning the CAPTURED FOOTAGE. Avid captures as MXF files...FCP as Quicktimes. MXF files aren't readable by FCP without third party apps. So, what I mean by this is that with Automatic Duck you can export an AAF from Avid...of the sequence. An EDL of sorts, that links to the media used in the sequence. Then Automatic Duck makes QT files that references that media, and translates the AAF to make the sequence appear in FCP. But that's as far as it goes...the sequence and media referenced by that sequence. None of the other footage, none of the bins...none of the project structure.
Let's say the project is simple NTSC footage that only has straight cuts. No titles, no effects, no transitions, nothing - just video.
OK...Good. That makes things easier. But again, you only get the sequence and the media referenced by that sequence...
I'm assuming it would be easier then to do everything?
What do you mean by that? "Do everything?" Do what? You CAN'T do everything...sequence only. You can get MXF4Mac and that will see the media. But then you need to import it all and reorganize everything into bins, and STILL use Automatic Duck to bring over the sequence. That right there is $1300 in software to get the media over.
You'd just use Automatic Duck and then the .mov files would reference back to the sequence and everything would stay in order?
Yes, Automatic Duck will make QT files that are reference files that link to the MXF files. But again, only the footage used in the sequence...none of the rest of it.
If you have time, and money, this is doable. But really, it would be best to finish this project with Avid, and then move to the new NLE after that.
Shane

Maybe making the switch from AVID to FCP, would like some input please.

Happy T-Day to all. Would really appreciate any thoughts on this. I have many questions and need some answers from folks who are not always pushing AVID ( my vendor) I am a one man shop and use all Apple apps (LiveType, Motion, etc.) but have always stayed in my comfort zone with AVID Xpro and MOJO. Am thinking of going to Media Composer but after a few days of consideration and a trip to an Apple store, I may do a complete turn around and commot to FCP. Recently made the move to HD with the Sony XDCAM HD system. Here are my questions...plese be patient, this is a major move for me.
1. If I purchase a new Intel G-5, will the internal SATA drives be OK for 35MPS HD?
2. What AJA card or product should I buy so I can view HD SDI on a client monitor and output HD to a Sony XDCAM HD F-70 Deck?
3. What graphics card should I order on the new machine?
4. Can I use the FAM ( File Access Mode) to tranfer content?
5. Any other considerations when ordering the new Intel machine?
I know I have many questions, but I really believe it is time for me to make the move. Any help would be really appreciated. Thanks again.
Tdub

1. Yes, but just. You'd only get 1 stream. Faster drives would allow you to do more than one layer of real time playback. You could stripe more than one internal sata and get the job done that way.
2. Kona LHe will do this, however you'd gain the ability to upconvert and cross convert the video to just about any format with the Kona 3.
3.The X1900. Motion and some effects in FCP will take advantage of it... down the line FCP is likely to rely more on the GPU is an educated guess of mine. the top of the line card is faster, but not enough to substaniate the price if you're working in Video. If you were working in 3D CAD environments, then the top of the liner would be the best choice.
4.I don't use XDCAM here, so I'm presuming that you're talking about a transfer mode with that. I'm pretty sure FCP 5.1.2 added this capability. Might search the COW on this term in the FCP forum there. http://www.creativecow..net.
5.Working with HD and MPEG streams would leave me wanting the fastest of the three machines. You'll want 4 gigs of RAM, but it's less expensive from other than Apple. I know just how scary it can be to move to a new platform, and did exactly as you are contemplating when FCP 2 arrived. I've never looked back. Hang here once you get started, and we'll help you with the transition. There is a book out there in the pro training series from Apple/Peachpit on ediiting on FCP if you're coming from Avid. I'd recommend you get that book. Will ease the transition no doubt.
Hope you make the jump!
Jerry

AME transitional workflow Avid to Premiere

Looking for input on a major workflow change, and how best to approach this most efficiently.
Goal: Edit one spot with multiple unique versions, each encoded to a different spec. For instance, one spot that is tagged uniquely for each cable provider it goes to.
Previous Workflow: Export all 20 versions as QT REF files. Practically instantaneous. Automation software renames them based on certain criteria, and sorts them to their respective watch folders. AME sees each watch folder and encodes any incoming files to that spec. Works great. (When it works).
Current Workflow: Transitioning away from Avid. Premiere cannot generate REF files (I understand why). Have all versions ready in Premiere. Open Premiere project in AME and select all 20 cuts. Manually choose encoding presets for each and every cut.
Am I missing something here? This seems to take me a lot more time than my previous workflow. I suppose I could render out all 20 cuts to intermediate files much like I did with the REFs, but this takes a lot of space, and a lot of time.
Is there some way for me to tie a specific AME encoding preset to a Premiere Sequence? So that for instance "Commercial ABC" gets encoded with the "ABC 1080i" preset automatically?
I'm used to being able to frame-serve my video straight to the encoder--whether it be with REF files, or things like AVIsynth. In this particular workflow, rendering out intermediate files seems an archaic and unnecessary step. Yet without doing that, I'm not sure how I'd make use of watch folders coming from Premiere...
Surely I'm missing a functionality within AME or Premiere that can accomplish what I'm after? Anyone is a similar boat that has tackled this kind of workflow?

Hmmmm. Interesting functionality, though I'm struggling to understand how I would adapt it to work for this workflow.
I need 20 unique files encoded. The only real difference between them is the final 5 seconds, and their associated audio files.
I could create 20 watch folders and drop a shortcut into each, but then I will get 400 files instead of 20, as it will encode each sequence in the root for each watch folder.
In order to utilize the workflow you have suggested, it seems I would have to save 20 unique versions of my PP project with only the specific sequence desired in the root of the project. I would lose all the benefits of having one master project within which to alter these 20 files...would I not?
Or is there an alternative workflow that would allow these unique PP projects to essentially point at a specific Sequence within my Master Project, updating as soon as I update the Master Project? How would the watch folder know the PP file has changed, and initiate another encode?

I have .me and .mac email accounts on my iPhone 4. I thought I had successfully transitioned from MobileMe to iCloud, but something must be wrong. iCloud seems to work fine on my computer and, with the exception of two email accounts, seems to be fine on

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Is there a way to extract the transitions from the trailers in iMovie '11 to use in my own movie?

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I don't want to use the trailers themselves as they are now because the options are too limited in respect to how I can create the movie. For example, there are times where I only want two words on the screen, but I am forced to use three instead. Also, I would like to delete such things as "cast" and "credits," but it doesn't seems like I can do that either.
Thanks in advance for your help.
Cheers.

Rommel Cinco wrote:
Is there a way for me to extract just the transitions from these trailers.
No there is not.
You could create a trailer, share it and then re-import and cut out just the pieces you want, but I don't think that's what you're looking for.
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Occasional sharp 'beep' sound when transition from a photo to a video

Hi guys-
I've been looking everywhere trying to solve this without any luck (doesnt seems like many out there with such problem).
I'm compiling a video for a family event (comprising of still photos and video clips) but i noticed that occasionally when the compilation play from a still to a video clip- it'll emit a sharp 'beep' noise.
This is what i checked and confirm so far-
1. it happens only when moving from a photo to a video (but not always occur).
2. the video clip has original sound volume set to 0.
3. original video clip does not contain the beep.
4. background song does not contain the beep.
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Can anyone share any ideas/experience around this?
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The transition from iPhone 3Gs to iPhone 4

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When my new iPhone 4 arrives from Apple what should I expect to have to do in order to get my ATT service transitioned from the 3GS to the iPhone 4? Will the new iPhone 4 come with a new SIM card that already has my current iPhone 3Gs phone number on it? Will I have to move the SIM card from the 3GS to the iPhone 4? Will I need to contact ATT to have service on the 3GS turned off?
Any thoughts would be greatly appreciated.

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Moved from AVID to FCP...viewing on NTSC monitor question

I am in the process of migrating to FCP studio from AVID with mojo. With the mojo I used a S-video out to my NTSC monitor. Now with my FCP system, I have to always have my DSR-25 on and use the composite out to the monitor. Is there a better way? I am using FW and only editing in DV for the time being. A AJA IO would give me an S out but I do not have RS-422 control with my deck. Plus, that is a lot of bucks to pay just to get a clean video out to my monitor.
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#8 External Monitor Viewing.
Shane's Stock Answer #8:
A simple path is mac > firewire > camera or deck > rca cables > tv
Then start up your camera and tv, then open fcp.
Then go View > External video > all frames
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Audio playback should be Audio follows Video
Techinially, this should send synched video to your TV
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2) In the Final Cut Pro menu select AUDIO/VIDEO Preferences and make sure your signal is being sent out thru Firewire DV.
3) Go to the menu and select VIEW>EXTERNAL>ALL FRAMES.
4) Click in the % box above the image and select FIT TO WINDOW.
5) Go to VIEW->refresh A/V devices
6) Make sure the Log & Capture window is closed
If you want it to play in both the canvas and the external monitor you need to go to the FINAL CUT PRO menu and select AUDIO/VIDIO settings and make sure MIRROR ON DESKTOP is selected under the PLAYBACK OUTPUT section
Shane

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Looking at the guide, the AS ABAP roles look similar.
Are there new features that have require special attention?

Mary,
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Quicktimes from AVID into FCP

I exported a final piece from AVID Adrenaline as an uncompressed Quicktime. I took that QT to my Mac (G5, OS 10.4.1, FCP 5.1.4), and imported it into FCP. The resulting clip has audio, but the video is completely white. The QT also does not play on Quicktime 7.1.2, though it did play on the Mac Quicktime 7.1.2 on the Adrenaline system.
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