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AI Media Analytics Readme
Avid® | AI Media Analytics Version 2018.9 ReadMe Important Information Avid® recommends that you read all the information in this ReadMe file thoroughly before setting up an Avid | AI Media Analytics environment. This ReadMe describes the required installation and configuration for running Avid | AI Media Analytics using Microsoft Azure Video Indexer. Additional information on MediaCentral | Cloud UX and MediaCentral | Asset Management is available online in guides. For more information about Azure Video Indexer, refer to Microsoft documentation. Important: Search the Avid Knowledge Base at http://www.avid.com/learn-and-support for the most up-to-date ReadMe file, which contains the latest information that might have become available after the documentation was published. Revision History Date Revised Changes Made September 28, 2018 First publication Contents About Avid | AI Media Analytics . 2 Installing the Media Analytics Packages. 4 Assigning Media Analytics Rights . 7 (Optional) Enabling the Media Analytics Processing Trigger . 8 (Optional) Enabling Media Analytics Processing for Additional Asset Types. 9 Creating Provider Configuration Profiles . 11 Triggering Media Analytics Processes by Using a Watch Folder Import. 16 Triggering Media Analytics Processes in MediaCentral | Cloud UX . 19 Monitoring Media Analytics Processes in the Process App . 20 Searching for Media Analytics Results in the Search App . 21 Displaying Media Analytics Results in the Markers Tab . 24 About Avid | AI Media Analytics About Avid | AI Media Analytics Avid | AI Media Analytics provides a framework that automates content indexing, such as facial detection, scene recognition, and speech-to-text conversion, by using third-party capabilities. The current version provides support for Microsoft Cognitive Services (Azure Video Indexer) and includes a Media Analytics API for additional providers. -
Filmmaking Camp Taught by Hans Rosenwinkel & Andrew Bateman
Filmmaking Camp Taught by Hans Rosenwinkel & Andrew Bateman The following camp will be held between the hours of 9:00 AM – 4:00 PM Monday-Friday with an hour lunch and around 2 hours of free work time. The participants will engage with our camp instructors and other participants via ZOOM and Canvas accounts. Course Description Students will create their own films and experience every step of film production from story premise inception, scriptwriting and pre-duction planning all the way through filming, editing and screening. This online taught class will provide a customized and individual experience for each student and provide an environment to learn about lighting, sound, location scouting, production design, cinematography, editing, graphics, and color correction. Students may also have the opportunity to work remotely in teams guided by experienced faculty and filmmakers. All filmmaking equipment is software and app based to simulate a high-end camera shot on a smart phone or tablet type device, as well as a variety of editing programs that can be accessed to work together in this unique virtual setting. Technology Details & Requirements: In order to participate in the Filmmaking Camp students will need a computer, camera/phone and internet access for the two weeks. Other than that, the instructors have set the camp up to be extremely flexible with software needs. Below are examples of different types of software that students may be able to use if they are interested. You do NOT need to download or install any software prior to the camp starting. The instructors will explain in more detail at camp. -
Davinci Resolve & Adobe Premiere
COLOR CORRECTION GUIDE – DAVINCI RESOLVE & ADOBE PREMIERE (v2) If you haven't already - Create Account in DaVinci Resolve (User Name & Password) In Locked Project, duplicate your Premiere Sequence. Rename it: “xxF3_FF01.proj” Create a NEW PROJECT. Call it “xxF3_Finishing.prproj”. This is a blank project. Project should look like this in Finder: Import your “FF01” Sequence. This will give you a clean, more efficient project file. File Import > Select PR Project > Pick “Import Selected Sequences” > Choose “FF01” In “Finishing” Project, duplicate “FF01”. Name the sequence: "XXF3_ToResolve" Duplicate >>>> Rename it Export H264 QUicktime of “FF01” (locked cut) for your Final QC Reference Video. (to use as Reference after clips are colored – it will be one of your final steps) QT H264 1920x1080, 24P Put in Folder: XXF3_Title/Editorial/DaVinci Resolve/XXF3_FromResolve In “ToResolve” Sequence: Delete Front Sequence, Audio, all uncolored material - leave ONLY clips for coloring. You may need to Unlink your Audio / Video - Select all, right-click “Unlink” Consolidate all footage by dropping down layered clips. If it isn’t visibly in the cut, it shouldn’t go to Resolve. Transitions, reframes, and special overlays will translate. Before: After: Export an H264 QUicktime of this consolidated Sequence for “Offline Video” Path: Editorial/DaVinci Resolve/XXF3_ToResolve/REF_H264_Offline “XXF3_OfflineRef.mov” (QT H264 1920x1080, 24P) Export Final CUt Pro XML - File > Export > Final Cut Pro XML Save to: XXF3_Title/Editorial/DaVinci Resolve/XXF3_ToResolve/“XXF3_FF01.xml” Open DaVinci Resolve - Log In if you haven't already In DaVinci Resolve: Create a New Project - File > Import XML (AAF, EDL, XML) Your XML will be Importing into it – you’ll choose the settings then. -
Multimedia Systems DCAP303
Multimedia Systems DCAP303 MULTIMEDIA SYSTEMS Copyright © 2013 Rajneesh Agrawal All rights reserved Produced & Printed by EXCEL BOOKS PRIVATE LIMITED A-45, Naraina, Phase-I, New Delhi-110028 for Lovely Professional University Phagwara CONTENTS Unit 1: Multimedia 1 Unit 2: Text 15 Unit 3: Sound 38 Unit 4: Image 60 Unit 5: Video 102 Unit 6: Hardware 130 Unit 7: Multimedia Software Tools 165 Unit 8: Fundamental of Animations 178 Unit 9: Working with Animation 197 Unit 10: 3D Modelling and Animation Tools 213 Unit 11: Compression 233 Unit 12: Image Format 247 Unit 13: Multimedia Tools for WWW 266 Unit 14: Designing for World Wide Web 279 SYLLABUS Multimedia Systems Objectives: To impart the skills needed to develop multimedia applications. Students will learn: z how to combine different media on a web application, z various audio and video formats, z multimedia software tools that helps in developing multimedia application. Sr. No. Topics 1. Multimedia: Meaning and its usage, Stages of a Multimedia Project & Multimedia Skills required in a team 2. Text: Fonts & Faces, Using Text in Multimedia, Font Editing & Design Tools, Hypermedia & Hypertext. 3. Sound: Multimedia System Sounds, Digital Audio, MIDI Audio, Audio File Formats, MIDI vs Digital Audio, Audio CD Playback. Audio Recording. Voice Recognition & Response. 4. Images: Still Images – Bitmaps, Vector Drawing, 3D Drawing & rendering, Natural Light & Colors, Computerized Colors, Color Palletes, Image File Formats, Macintosh & Windows Formats, Cross – Platform format. 5. Animation: Principle of Animations. Animation Techniques, Animation File Formats. 6. Video: How Video Works, Broadcast Video Standards: NTSC, PAL, SECAM, ATSC DTV, Analog Video, Digital Video, Digital Video Standards – ATSC, DVB, ISDB, Video recording & Shooting Videos, Video Editing, Optimizing Video files for CD-ROM, Digital display standards. -
User Manual 1
Pro Maintenance Tools User Manual 1 Pro Maintenance Tools User Manual Pro Maintenance Tools (formerly Pro Maintenance Tools) is a utility pack designed to keep your Final Cut Studio, Final Cut Pro X, Avid Media Composer, Avid Symphony or Adobe Premiere Pro for Mac running at optimal performance and help resolve problems when they arise. The suite contains tools to repair corrupt QuickTime movies, locate corrupt clips within a timeline, diagnose crash logs, manage plugins, repair Final Cut Pro projects, manage autosaves, salvage movie data from corrupt files, and much more. Show-stopping problems always seem to occur on a deadline - Pro Maintenance Tools is designed to rapidly diagnose and fix common issues, ensuring users get back on track as quickly as possible. With the Task Scheduler utility, maintenance tasks can even be scheduled to run in the background for convenience. Pro Maintenance Tools includes: Autosave Manager – Flexible autosave management offering automatic archival or removal based on criteria including age and file size. Supports Final Cut Studio, Final Cut Pro X, Avid Media Composer, Avid Symphony and Adobe Premiere Pro Compressor Repair – Repairs the fragile links between Compressor and Qmaster. Supports Final Cut Studio and Final Cut Pro X Corrupt Clip Finder – Automatically locates corrupt clips in a project, saving hours of manual Last updated Aug 18, 2014 Pro Maintenance Tools User Manual 2 reconnecting. Supports Avid MXF with a third-party plugin such as MXF4Mac. Supports Final Cut Studio, Final Cut Pro X, Avid Media Composer, Avid Symphony and Adobe Premiere Pro Crash Analyzer – Analyzes your editing application crash logs, attempts to diagnose the cause of the crash and suggests ways to solve the problem. -
Avid Technology Announces Q2 2020 Results
Avid Technology Announces Q2 2020 Results August 3, 2020 68% Year-Over-Year Subscription Revenue Growth Driven by Continued Increase in Paid Subscriptions with Net Increase of 24,000 Subscriptions in the Quarter Operating Income Increased 214% Year-Over-Year from Improved Gross Margin and Significantly Reduced Operating Expenses BURLINGTON, Mass., Aug. 03, 2020 (GLOBE NEWSWIRE) -- Avid® (NASDAQ: AVID), a leading technology provider that powers the media and entertainment industry, today announced its second quarter 2020 financial results. During the second quarter, the Recurring Revenue components of the company’s business were resilient despite the COVID-19 global pandemic. The Company reported record subscription revenue of $16.4 million, up 68% year-over-year and maintenance revenue was stable, resulting in 8.5% year-over-year growth in Annual Contract Value. Also, in the quarter, Avid significantly improved its profitability as a result of higher gross margin coupled with a more efficient cost structure. The year-over-year improvement in gross margin of 760 basis points was a result of a greater portion of revenue coming from higher-margin software in the quarter and benefits from expense reductions in non-material cost of sales. Profitability was also enhanced by the $11 million year-over-year reduction in operating expenses in the quarter, which the Company will continue to closely manage towards the target of at least a $30 million reduction for fiscal 2020. For the second quarter, total revenue declined year-over-year, as the non-Recurring Revenue portions of the Company’s business related to product and professional services continued to be negatively impacted by weaker demand as a result of the COVID-19 global pandemic, which has caused the postponement or cancellation of many live music and major sporting events, and the temporary suspension of many film and television productions. -
Avid Media Composer Basics Guide • 0130-07971-02 • September 2009
Avid® Media Composer® Basics Guide ™ make manage move | media Avid ® Legal Notices Product specifications are subject to change without notice and do not represent a commitment on the part of Avid Technology, Inc. This product is subject to the terms and conditions of a software license agreement provided with the software. The product may only be used in accordance with the license agreement. Avid products or portions thereof are protected by one or more of the following United States Patents: 5,077,604; 5,267,351; 5,309,528; 5,355,450; 5,396,594; 5,440,348; 5,467,288; 5,513,375; 5,528,310; 5,557,423; 5,568,275; 5,577,190; 5,584,006; 5,634,020; 5,640,601; 5,644,364; 5,654,737; 5,715,018; 5,719,570; 5,724,605; 5,726,717; 5,729,673; 5,745,637; 5,752,029; 5,754,180; 5,754,851; 5,799,150; 5,812,216; 5,828,678; 5,842,014; 5,852,435; 5,905,841; 5,929,836; 5,930,445; 5,946,445; 5,986,584; 5,987,501; 6,016,152; 6,018,337; 6,023,531; 6,058,236; 6,061,758; 6,091,778; 6,105,083; 6,118,444; 6,130,676; 6,134,607; 6,141,691; 6,198,477; 6,201,531; 6,223,211; 6,249,280; 6,269,195; 6,330,369; 6,351,557; 6,353,862; 6,357,047; 6,392,710; 6,404,435; 6,407,775; 6,417,891; 6,426,778; 6,477,271; 6,489,969; 6,512,522; 6,532,043; 6,546,190; 6,552,731; 6,553,142; 6,570,624; 6,571,255; 6,583,824; 6,618,547; 6,636,869; 6,665,450; 6,678,461; 6,687,407; 6,704,445; 6,747,705; 6,763,134; 6,766,063; 6,791,556; 6,810,157; 6,813,622; 6,847,373; 6,871,003; 6,871,161; 6,901,211; 6,907,191; 6,928,187; 7,043,058; 7,081,900; 7,103,231; 7,266,241; 7,280,117; RE40,107; 7,403,561; 7,433,519; 7,512,885; 7,545,957; D352,278; D392,267; D392,268; D392,269; D395,291; D396,853; D398,912. -
Kwasi Ofori Berko Capstone Thesis
Digital Technology Art for a Car Advertising Agency Kwasi Ofori Berko BSc. Information Systems Science (2014) Thesis submitted in partial satisfaction of the requirements for the degree of Master of Fine Art in Digital Arts in the Welch Center for Graduate and Professional Studies of Goucher College November 21th, 2019 ____________________________ Advisor signature 2 I authorize Goucher College to lend this thesis, or reproductions of it, in total or in part, at the request of other institutions or individuals for the purpose of scholarly research. Copyright © 2019 by Kwasi Ofori Berko All rights reserved 3 Acknowledgements I would like to thank my capstone committee – Professor Paul Lempke, Professor Andrew Bernstein, and Professor Javier Molina - for guiding me with their knowledge, experience, and encouragement throughout this process. I am sincerely grateful to Mr Kwasi Gyimah Asante and Dr Kofi Owusu-Boaitey, my Uncles, advisers and mentors, for their support in all aspects of my academic career. I would like to thank all of the faculty and staff of the Graduate Programs in Digital Arts department as well as the Associate Director for International Students Center for Race, Equity and Identity, Karen Sykes. Thank you as well to all of my classmates who have walked this journey with me. 4 Abstract Kantanka is the first ever automobile manufacturing company in Ghana which assembles and produces made in Ghana vehicles. The company which has been around for many years now, has caught media attention that resulted in investors providing funding in the company. Simultaneously, many Ghanians and neighboring countries have patronized the Kantanka automobile products. -
Pro Tools | Quartet Your Personal Professional Music Studio
Pro Tools | Quartet Your personal professional music studio For musicians, engineers, producers, sound designers, and audio post professionals who demand a complete audio/MIDI creative solution, Pro Tools® | Quartet enables you to turn your Mac or PC into a high-performance yet portable music and audio production studio. Featuring industry-standard Pro Tools software and the best-in-class Quartet by Apogee 12x8 audio interface, Pro Tools | Quartet provides everything you need to create professional- level productions that will help you stand out from the crowd—from first note to final mix. And now it’s more affordable and an even better value than ever—bundle the interface with a full Pro Tools license and get a free year of upgrades included at no additional charge, or choose a lower cost 1-year Pro Tools subscription and get all upgrades included throughout your subscription. Plus, both options come with your choice of two additional premium Avid plug-ins at no extra charge. Top Rear Create with industry-standard Pro Tools Sound Amazing® with Quartet • Work with the award-winning toolset trusted by audio pros worldwide • Record performances in 24-bit/192 kHz resolution • Write, play, practice, record, edit, mix, and master music faster • Connect mics, instruments, and more to high-quality I/O: • Get seamless integration with Quartet by Apogee for optimized control o Four combination mic/instrument/line inputs • Create large, richly detailed sessions easily with 64-bit performance o Eight channels of ADAT/SMUX input via Toslink • Track -
RED Workflows with Final Cut Pro X White Paper June 2012 White Paper 2 RED Workflows with Final Cut Pro X
RED Workflows with Final Cut Pro X White Paper June 2012 White Paper 2 RED Workflows with Final Cut Pro X With the continuing popularity of the RED® family of cameras (www.red.com), Final Cut Pro X editors have been looking for proven workflows with REDCODE® RAW files. This white paper outlines how professional production companies are achieving excellent results when recording with RED cameras, editing in Final Cut Pro X, and finishing in applications such as DaVinci Resolve. This document outlines a complete RED-based post-production workflow, following the steps below: 1. Transcode REDCODE RAW files to Apple ProRes using REDCINE-X® PRO. 2. Batch sync audio and video files. 3. Import synced files into Final Cut Pro X. During import, Final Cut Pro X can automatically create lightweight Apple ProRes 422 (Proxy) files for editing. Or, if you have a lot of footage and multiple editors, you can use Compressor to create the Apple ProRes 422 (Proxy) files. 4. Edit and lock picture with Final Cut Pro X. 5. Export an XML file of the project from Final Cut Pro X. 6. Color grade the project in DaVinci Resolve using either high-quality Apple ProRes or R3D RAW files. You can relink the project XML file to the original R3D files in either REDCINE-X PRO or DaVinci Resolve. 7. Export an XML file from DaVinci Resolve and import it back into Final Cut Pro X. 8. Export a final master from Final Cut Pro X. This method combines the best of both worlds—the speed of editing with Apple ProRes on a wide variety of notebook and desktop systems, and the color grading advantages of RAW when finishing. -
Avid Filmscribe User's Guide
Avid® FilmScribe™ User’s Guide ™ make manage move | media Avid ® Copyright and Disclaimer Product specifications are subject to change without notice and do not represent a commitment on the part of Avid Technology, Inc. The software described in this document is furnished under a license agreement. You can obtain a copy of that license by visiting Avid's Web site at www.avid.com. The terms of that license are also available in the product in the same directory as the software. The software may not be reverse assembled and may be used or copied only in accordance with the terms of the license agreement. It is against the law to copy the software on any medium except as specifically allowed in the license agreement. Avid products or portions thereof are protected by one or more of the following United States Patents: 4,746,994; 4,970,663; 5,045,940; 5,077,604; 5,267,351; 5,309,528; 5,355,450; 5,396,594; 5,440,348; 5,452,378; 5,467,288; 5,513,375; 5,528,310; 5,557,423; 5,568,275; 5,577,190; 5,583,496; 5,584,006; 5,627,765; 5,634,020; 5,640,601; 5,644,364; 5,654,737; 5,724,605; 5,726,717; 5,729,673; 5,745,637; 5,752,029; 5,754,180; 5,754,851; 5,799,150; 5,812,216; 5,828,678; 5,842,014; 5,852,435; 6,061,758; 6,532,043; 6,546,190; 6,636,869; 6,747,705. -
Avid Media Composer and Film Composer Input and Output Guide • Part 0130-04531-01 Rev
Avid® Media Composer® and Film Composer® Input and Output Guide a tools for storytellers® © 2000 Avid Technology, Inc. All rights reserved. Avid Media Composer and Film Composer Input and Output Guide • Part 0130-04531-01 Rev. A • August 2000 2 Contents Chapter 1 Planning a Project Working with Multiple Formats . 16 About 24p Media . 17 About 25p Media . 18 Types of Projects. 19 Planning a Video Project. 20 Planning a 24p or 25p Project. 23 NTSC and PAL Image Sizes . 23 24-fps Film Source, SDTV Transfer, Multiformat Output . 24 24-fps Film or HD Video Source, SDTV Downconversion, Multiformat Output . 27 25-fps Film or HD Video Source, SDTV Downconversion, Multiformat Output . 30 Alternative Audio Paths . 33 Audio Transfer Options for 24p PAL Projects . 38 Film Project Considerations. 39 Film Shoot Specifications . 39 Viewing Dailies . 40 Chapter 2 Film-to-Tape Transfer Methods About the Transfer Process. 45 Transferring 24-fps Film to NTSC Video. 45 Stage 1: Transferring Film to Video . 46 Frames Versus Fields. 46 3 Part 1: Using a 2:3 Pulldown to Translate 24-fps Film to 30-fps Video . 46 Part 2: Slowing the Film Speed to 23.976 fps . 48 Maintaining Synchronized Sound . 49 Stage 2: Digitizing at 24 fps. 50 Transferring 24-fps Film to PAL Video. 51 PAL Method 1. 52 Stage 1: Transferring Sound and Picture to Videotape. 52 Stage 2: Digitizing at 24 fps . 52 PAL Method 2. 53 Stage 1: Transferring Picture to Videotape . 53 Stage 2: Digitizing at 24 fps . 54 How the Avid System Stores and Displays 24p and 25p Media .