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That is exactly it. Many plugins were folded in natively to avid link and no longer required :)

Ideally I'd search it outside of media composer and just import what is needed. Especially if working on multiple projects with different frame rates as avid will assign a frame rate timecode to imported sound. You can link and consolidate music (tick delete original media files in consolidate window so you don't end up with double ups. It doesn't delete anything just changes linked clips to avid media clips) but would take quite some time with a library of that size.

So the script marks shown here are not marks on the clip but on the script. There's been a bunch of updates made in this area in more recent versions of avid like the transcript tool allowing for a certain amount of paper/script editing but not in any kind of automated way I'm afraid. Hope that answers your question.

Avid has always been a more manual app than the others. One of my favourite things about it. You can keyframe motion or track points in the frame for the title to follow. Then you can save those titles to a bin to use later. I now have a bin full of my own custom templates for all kinds of titles that serve me for most situations. Besides this is the first iteration of this titler with more updates to it to come.

@@theavidassistant the old Avid had templates ready. and they could also be created and now with the new AVID all that disappeared. I remember when I even had to be brands for chapters. The idea is to make the editor's job easier. Don't complicate it by doing everything by hand, since it takes a lot of time.

Yes the transcription tools require phrasefind / ScriptSync to be installed which are part of the avid ultimate subscription along with avid symphony colour tools. Standard media composer won't have this unfortunately.

@@theavidassistant thanks

So I'd generally export the plates with burn ins of source tc, plate name, frame counter. Since making this video I have also adopted a practice of dropping a black and white effect over the area of the plate that is handles only. As my workflow has improved a bit since making these I may review these videos early next year when I get time and make new ones. Too slammed on projects to do right now but that's for bringing to my attention!

@@theavidassistant You're fast Jack 🙂 The B/W visualization sounds interesting. Re the BurnIns, when you batch export from the bin, are those subclips or subsequences with the src tc, shotID/plate name and framecounter? Can't imagine a way to export the subclips with the BurnIn from the bin though.

@@EditaufSchnitt Yes no the batch export from the bin is just something extra of a representation of each individual plate clean. Seperate from exports with burn-ins. The first job I had as VFX Editor which was an action-feature, the vendor asked for this. Similar to online turnovers a lot of this can vary depending on the vendor's requirements. These videos are meant to give a general overview of the most common stuff you would do.

@@theavidassistant Alright, now we're on the same page again :-) Thanks for the clarification.

Not sure I understand the question. If you mean best workflow then it's a bit subjective but there would be two main ways. 1) Transcode to 1080p proxies to work in an offline environment and edit the project. Then deliver turnover to online where they will link back to the source camera files and do grade and final masters. This is what I usually do. 2) ingest at full resolution and work in 4K (or whatever the camera resolution is. For this create a 1080p project as normal, then LINK (Don't ever use import for video, got a whole video on that) the footage in. Then ideally you should still transcode for best performance (or just consolidate if it's ProRes or DNx source codec), if transcoding go to a decent DNx flavour like DNxHR SQ or HQ. Then do your edit and export in any resolution up to the camera native since you have it to work with. Does that answer the question?

So I export my macros onto a drive and import them into the stream deck UI in the facility. There are some I use that are Mac only (stream deck is a hotkey to trigger those) but I have different ones built to do the same thing within the stream deck UI for use in facilities. Sometimes they don't let you install it there (BBC are like that) but most places are cool with it. Generally I don't have to rebuild any, it's good to go :)

Hi! So the participants should be able to hear only audio from the NDI stream as well as your microphone. Nothing beyond that to my knowledge. However I know there have been a number of updates and changes lately so worth checking louper's website in case they have added more functionality.

@@theavidassistant Thank you for your quick answer!

When checking the boxes one of them should have Avid Control next to it so that's the only one you need. As for the app, what do you mean it won't show the mixer when Eucon is on as well? Is avid launched and the controller setting is set to eucon?

Import / MXF (more native for avid) / I don't relink back to source later. As long as it's imported at 24bit / 48KHz it's basically lossless and I'm an offline editor anyway so I pass off to sound post where they will use the source wave files.

ooo...got it...i need to click the user tab in the settings and then go to file>open user settings...Thanks!!!

To my knowledge, no. There's no official support to match the knobs to the mixer in avid. Perhaps if there was a EuCon plugin for StreamDeck that would allow it but nothing exists like that yet.

You can close the gaps it's not going to make a difference to the subclips that you make by the end. Just make sure sync locks are on so you don't slip audio / video when closing.

​​​@@theavidassistantThanks...I tried to use the simple method of closing gaps...which is forward select then alt+shift+forward select to invert and select the gaps and delete.....but this pulls the audio tracks of the other clips, to under the clips that I already have(some audio track counts differ from each other)....well sorry I dont know to say this without a picture...so in the end I closed the gaps manually one by one...

​@@theavidassistantbtw. I found that when making subsequence, and assigning a macro(so it creates subsequence automatically in multiple) I can batch rename them all at once ...seems that works faster for me...

@nazimshah6582 I've done that sometimes too (love the bulk edit utility!) but for subclipping I like doing it one at a time as it helps me be careful as many need thought as the metadata may not be correct for bulk naming. Would rather do it manually personally but whatever works for each user is what they should do.

There's a bunch of options for colour correction in the soft keys programming. It's not something I do a lot so haven't looked into it too much but i do remember being impressed with it.

Not that I know of. I believe you could perhaps program soft keys but I'm not sure about the mixer. I tried to connect it unsuccessfully. I believe the application in question has to open up to EuCon and I don't know that resolve does. Tried a quick google with no luck but if you do get it working please let me know. Would be keen to hear more :)

@ i have been trying for the past hour as well with no luck unfortunately. i have a speed editor for resolve of which i absolutely love the jog wheel and now i’m falling in love with this app for avid. i wish i could use both these things on both the NLEs :(

great video! what mac os and computer you are using?

@JogLab M2 Max MacBook Pro. Exact OS and software / hardware used at time of recording is noted in the video description :)

Agreed. Directors and Producers too 😂

No unfortunately. The control/command keys are mapped to system functions that can't be changed and the alt key changes any mapped function to a different version of it.

I don't know about doing anchor points but if you have the ability to update to the latest version of media composer you could dump all the clips onto a sequence (or sequences) and avid will automatically transcribe them for you. You can navigate the sequences by clicking on words in the new transcript tool and even export out a text transcript for the director to use. That would definitely be the easiest solution as I see it.

@ Thank you so much for your quick answer! I think I’ve figured out a workaround by adding “Scenes” using our archival asset ID numbers. That way the editor can jump to that place in the long script which takes him to the beginning of that asset. If that doesn’t work, I’ll try your recommendation. Having the timecode is the key cause of the paper cut chunks we receive from the director.

That was added in 2023.8 last year. You can boost up to 36dB :)

@ nice not only 12db and another 12db with keyframes

True, you can even use quick transition. But I'd prefer keyframes if I want to manually fade in or out parts of the title ( like the backdrop shape for example) which is something you couldn't do in titler+ before and now can. So it was just about showing that we now have the option :)

Think I already replied to you on Facebook but will say it here too. I always uninstall the previous version with the uninstalled, install the new version and then create a new user profile. Every release. Whole process is only about 10minutes. Doing that is the primary reason I think that my avid almost NEVER crashes. But who knows maybe I'm just a creature of habit :)

@ yeah, that’s me asking the same question in both places. Thanks again.

Hey! So with the sync map method, the last step is to select all those sub sequences, right click and select "Auto Sync" which turns them all into clips. This should be in the video as well. As for your other question, do you mean .wav files? A .mov is generally a picture file as "mov" is short for movie. In which case these should be combined into one clip upon import if they have been recorded correctly. If you send me an email at theavidassistant@gmail.com I can try to help further :)