CHOOSE YOUR OWN ADVENTURE VS. A GARDEN PATHWAY
Remember the Choose Your Own Adventure™ series at your local library?
If not, here was the basic rhythm:
You have stumbled into The Villain’s Lair. The Villain is facing away from you.
You see a table with some stuff and a door labeled “EXIT” nearby.
What do you do?
• Page 13 - find something on the table to defeat The Villain.
• Page 93 - sprint toward the “EXIT” door.
• Page 55 - scream.
Depending on your page choice, your adventure continued or it ended (typically in a Game Over fashion).
Well, I was once asked to add an app’s existing user manual to a set of other user manuals. It was presented as a straightforward copy-and-paste project.
The problem? I discovered this manual’s structure and voice vastly differed from the others.
How? You guessed it: it was written in Choose Your Own Adventure form.
My first order of business was to map out the flow of information and decision points using Freeform.
I then distilled the app’s main functions into a topical outline. In a couple days time, this (truly) lovely app had a user manual that harmonized in structure and tone with its new siblings’ existing user manuals.
So, that got me thinking: can you write effective technical documentation – user manuals, support articles, etc. – as a Choose Your Own Adventure?
In this instance, since One of These Things Was Not Like the Others, I put forth the effort to make this manual feel like a part of an existing whole.
That said, most of the time, the answer is: No.
A big reason why I remember Choose Your Own Adventure books fondly is because I was a kid and had all the time in the world. But once someone cracks open a physical manual or clicks Help, as the old reality show trope goes: your time starts… now.
That’s not to say technical documentation must be a sterile experience.
What if we who write those docs thought of these as garden pathways?
You can go pretty deep researching the form and function of garden pathways, but look at all of these possibilities!
Plus, if someone stops along the way to see a flower in bloom, a dragonfly, or take an alternate path, likely the experience will still be refreshing.
A pathway accomplishes all of this while keeping its core objective in focus: to guide someone from here to there.
While technical documentation doesn’t have to be a drab experience for the reader or the writer, leaning into a structure which sacrifices a reader’s time purely for the sake of whimsy or fun can linger in the reader’s memory for a long time. Choose a garden pathway when writing your next user manual or support article and you’ll add a welcome respite to your customer’s adventure.
REMOVE THOSE C-00000291*.SYS CROWDSTRIKE FILES, BRING WINDOWS BACK TO LIFE
(Revised and Updated: July 22, 2024)
If your office or facility is still affected by the CrowdStrike update from July 19, 2024, take these steps to remove any offending CrowdStrike files matching this pattern – C-00000291*.sys.
From Microsoft Support > KB5042421: CrowdStrike issue impacting Windows endpoints causing an 0x50 or 0x7E error message on a blue screen:
https://support.microsoft.com/en-us/topic/b1c700e0-7317-4e95-aeee-5d67dd35b92f
From CrowdStrike > REMEDIATION AND GUIDANCE HUB: FALCON CONTENT UPDATE FOR WINDOWS HOSTS:
https://www.crowdstrike.com/falcon-content-update-remediation-and-guidance-hub/
Also, Microsoft released a recovery tool to automate those remediation steps:
Microsoft Support > ***KB5042429: New recovery tool to help with CrowdStrike issue impacting Windows devices:
Finally, even though the official recovery tool is available, you might prefer this PowerShell script from Chris Davis (https://lnkd.in/eVNcUsZa):
https://www.linkedin.com/pulse/crowdstrike-windows-blue-screen-fix-chris-davis-4lruc/
Chris is the first person I noticed who published the timestamp difference between the bad versus the good files all the way back on July 19, so it’s worth giving him a high five. 🙌🏽
Shelley Duvall… 😞
EDITING WITH PROXY MEDIA MAKES YOU FASTER AND STRONGER
Remember Edgar Wright’s ✌🏽test footage✌🏽 for Ant-Man from 2012?
This is what happens when you decide to use proxy media in your projects – you get extra speed and strength during the edit.
What is Proxy Media?
Proxy media are lower-resolution versions of your source media (i.e. your original, full-resolution shots).
Before you do any actual editing, you can:
- Transcode your source media to lower-resolution media files (i.e. proxies).
- Edit from those smaller proxy media files.
- Relink the Clips to your source media once your story is in place (AKA Picture Lock).
But are those extra steps – making then relinking to proxies – really worth it?
Proxies Make You Faster
Sure, your computer can handle 10 streams of 8K without breaking a sweat. But what if you start working with someone else? Do they have the same hardware and system resources as you do?
Or what if you want to work on something remotely? Will that same media play back at full frame rate through your favorite remote access platform on a workstation hundreds of mile away? Or will that media stream from your shared cloud storage or sync to your teammates’ local storage so they can quickly get to work?
Using proxy media solves these problems.
Proxies Make You Stronger
Editing is writing, and good writing is rewriting.
Smaller, high-performance media files let you cut faster so you can discover, tighten, and deliver your story much sooner.
Aren’t Proxies a Waste of Time?
If you’re using a slow transcoding app or platform, perhaps. But if you’re using something like EditReady (or EditReady Server), Compressor (or Final Cut Pro), or DaVinci Resolve, you can transcode source media at the speed of your hardware.
Even if you’re working as a soloist, editing from proxies ultimately saves you time on rendering effects and exporting deliverables.
“What about that boom mic in the shot?” That’s what the finishing phase is for. 🙂
You may have noticed I haven’t mentioned codecs or used terms like “intermediate” or “mezzanine”. If you want a deep dive on a proxy workflow, there are plenty of articles out there. But most of those articles don’t answer this simple question – why even bother with proxies?
Because, like Scott Lang, you’ll find out there are lots of advantages working in the realm of smaller media files – faster editing, stronger storytelling, and happy clients.
MAKING A GOOD MOVIE IS HARD
…and these episodes of Light The Fuse, which diverge from the Mission Impossible series to the making of Top Gun: Maverick, exemplify this.
Still listening to this one, but wow…
Joseph Kosinski, Director
Eddie Hamilton, Editor
All of these episodes are fantastic, but Eddie’s interview really struck me. The weight of doing right by a movie with the additional weight of being respectful to a well-known set of characters and their universe could’ve easily broken the whole team. But it didn’t, and Eddie readily acknowledges the help he received from others, including Chris Lebenzon, one of the original editors of Top Gun.
Top Gun: Maverick is a miraculous achievement and getting Chris McQuarrie, Eddie Hamilton, Joe Kosinski, and even Tom Cruise to share these tidbits feels equally miraculous for all the film lovers out there.
Again, no spoilers from me, but another great day to be an F1 fan. #BritishGP
Light the Fuse is one of the best podcasts around.
Great hosts? ☑️ Great guests? ☑️ Real interviews about the real work of making a movie? ☑️
Seriously, just pick an episode, any episode. You can’t go wrong.
Big thanks to Drew Taylor and Charlie Hood and congratulations on their success.
LIKE A STICK OF GUM
How many flavors of gum are represented here?
Do you think you could figure this out without unwrapping and tasting each one of them?
If these were right in front of you, what would be your first instinct? If you’re like me, you’d smell ‘em! But how good is your smeller?
Chewing gum seems to fall under two basic flavor profiles: fruity or minty. Can you tell the difference between spearmint versus cool mint or wild berry versus… fruit flavor by smell alone?
Inspired by this post from Brian Costa, a great way to think about video or audio files is by looking at them as sticks of gum.
If you’re reading this, you probably have an MOV file somewhere on your computer. Can you find one and open it?
If you can see and/or hear something in your favorite media playback app, you just unwrapped a stick of gum.
The MOV is the wrapper.
The video and/or audio is the gum.
Now picture a whole pack of gum completely removed from its packaging.
Even with this small stack of gum, would you really want to unwrap each one, lick it to check its flavor, then rewrap it to enjoy later? 🤢
Wouldn’t it be great if you could x-ray your gum and (better yet) analyze the flavor of each stick without tasting or unwrapping it?
You can do this with your media files right now using MediaInfo.
A native app version of MediaInfo is available from MediaArea here, but MediaInfo’s also available as a Web app here: https://mediaarea.net/MediaInfoOnline
How to X-Ray Your Gum
Find a video or audio file, drag-and-drop it onto MediaInfo, and behold!
Here’s an example of a MediaInfo report based on this file: TRON LEGACY - Kevin Flynn - Biodigital Jazz Man.mov
Here’s the flavor of gum:
Video > Format: ProResAudio > Format: PCM
And this is the wrapper:
Format: MPEG-4Format Profile: QuickTime- which typically ends with a MOV file extension
But Why Tho?
When you’re awarded or brought on to a project, more often than not, you’ll receive a set of source media that feels like this.
If some of that source media isn’t working with your favorite video editing app or transcoder, or you need to determine specific details about that media to move forward with your project, MediaInfo will help you match the right gum to the right wrappers.
Media in Unknown or Legacy Formats
I once received some security camera footage captured in a completely proprietary format from a friend of an executive. I tried and tried to open that footage, but to no avail.
I found MediaInfo, saw exactly what kind of media file I was working with, and successfully opened those files (which was used to find some bad guys).
MOV or MP4 or 3GP?
Before MediaInfo, one trick I tried (and tried and tried) was to rename those media files with different file extensions.
With MediaInfo, not only can you see the gum but the actual wrapper. Choose the right file extension for that file, batch rename your files with that extension, and you’re on your way.
What Kind of MXF Is This Anyway?
If you’re using Avid Media Composer, you might receive a set of MXF media files with no documentation or you may have some MXFs associated with a specific Project you need to bring back online, but you forgot which special folder you should place those files in so Media Composer will connect the media to Clips in your Bins.
With MediaInfo, you can see:
Format profile- whether you have OP-Atom or OP1a (OP-1a) media, which will determine where you copy or move those MXFs.Video > Commercial name- the Avid codec flavor used to encode this mediaVideo > Bit rate- the Avid codec flavor’s data rateVideo > Width | Height- the raster dimensions (or frame size) of this media, which will likely be your Avid Project’s raster dimensions.
For example, here’s a piece of footage transcoded to an MXF for Avid Media Composer:
What kind of MXF is this?
Format profile: OP-1a- which means you’ll place it in a special media folder under../Avid MediaFiles/UME/.Format profile: DNxHR LBVideo > Bit rate: 37.7 Mb/sVideo > Width | Height: 1 920 pixels | 1 080 pixels- which are likely the Project’s raster dimensions
But here’s that same footage transcoded to an OP-Atom MXF for Media Composer:
Since this is an OP-Atom MXF, you’ll need to place this one in a special folder under ../Avid MediaFiles/MXF/.
Also, if some well-meaning teammate tried (and tried) to open this MXF by changing its file extension, you could use MediaInfo to show them what this file actually is (Format: MXF) so they know what to do next time. (Or, show them how to use MediaInfo! 🙂)
It’s been said that 80% of Editorial work is staying organized. The next time you’re given a pile of footage in a variety of formats, don’t open each stick of gum. X-ray it with MediaInfo and soon that pile of wrappers will look and taste like a neatly arranged rainbow.
Fliptronic Avenches – this has to be the mintiest collections of arcade cabinets I’ve ever seen.
Just look at those Sega cabinets! Pristine. 🤌🏽
I cleaned the internals and reapplied thermal paste to the CPU and GPU in my 2018 MacBook Pro (Intel).
Me: It boots! Everything works! 🥳
Also me:
“COLLECT THEM ALL!”
I miss ThinkGeek. 😂
MIMIQ – WHAT IT DOES, WHAT IT DOESN’T
If you’re working together in Avid Media Composer, please believe me: I understand. It’s hard.
So many things can go wrong, and when they do, pressures mount and tempers spike.
If you’re using Mimiq when things go wrong, your first instinct may be: “Let’s blame Mimiq. After all, it’s not an official Avid product. And, sure, it works… but how?”
Let me take away some of that stress.
First, I’ll confirm what Mimiq does. Then I’ll tell you what it doesn’t do.
Mimiq Swaps Out the Golden Idol for a Bag of Sand
In Raiders of the Lost Ark, Indiana Jones is deep in the jungle searching for an artifact.
Then he finds it.
Indy knows he can’t just take it – that would be too easy! What does he do?
This is what Mimiq does – it swaps out any actively loaded NEXIS client with its own, effectively becoming the active NEXIS client.
With Mimiq 24.2, that means Media Composer will recognize a list of eligible shared volumes on the network, any Workspaces created from folders on capable storage, and now native NEXIS workspaces as Avid NEXIS Drives. In turn, you get Bin Locking (and Bin Refresh!) when working from an Avid Project shared from any of these Avid NEXIS Drives.
That’s it.
What Mimiq Doesn’t Do
Indy thought the swap was successful, but he still triggered those traps.
Was he successful?
Although he lost the artifact, he escaped to fight another day.
So it goes when working with Avid Media Composer – you will encounter troubles that are common to Media Composer, but uncommon to you. Mimiq doesn’t address or fix those troubles, so when you encounter them, you will lose time, but you’ll live to fight another day.
Knowing that, here’s a list of gotchas you’ll encounter, with or without Mimiq.
Errant Behavior
Playback is now much slower
Mimiq doesn’t intercept any input/output between your workstation and where you store your media.
You may need to confirm you’re using a qualified combination of Media Composer and your operating system, all Avid Requirements are in place on that workstation, and your network and shared storage are configured for maximum performance.
I’m getting permission errors
Mimiq doesn’t alter any permissions on any eligible volumes, whether they’re shared folders, Workspaces created from folders, or native NEXIS workspaces.
If Media Composer reports permissions-related errors, the best place to start is to give Read and Write privileges to any users who will access that share, then progressively restrict access as desired.
Media Composer keeps creating a 1 folder in my special media folders
https://isaact.micro.blog/2024/06/12/on-renaming-avid.html
Opening Bins gets slower and slower
https://kb.avid.com/pkb/articles/en_US/Knowledge/en397171
Media Composer crashes when loading bins
https://kb.avid.com/pkb/articles/en_US/Knowledge/Media-Composer-crashes-when-loading-bins
There’s a .lck_conflicted file in my Avid Project folder
https://community.avid.com/forums/p/207593/925980.aspx
Media Composer hangs/is stuck on “Configuring audio waveform cache”
Exceptions
sys_error, OSErr:-5000
https://kb.avid.com/pkb/articles/en_US/Knowledge/Exception-SYS-ERROR-OSErr-5000
SYS_ERROR, OSErr:-61
“Project Settings not saved due to an error.” or “File (Project Name).avp not found.”
https://avidtech.my.salesforce-sites.com/pkb/articles/en_US/error_message/en275137
ReadDomainWithMobs: failure opening domain on stream for bin
Structured Exception, ExceptionCode: 3221225477, ExceptionString: Access_Violation
- https://community.avid.com/forums/p/122419/881542.aspx
- https://social.technet.microsoft.com/Forums/ie/en-US/e8bad4fa-b640-4a39-ad88-74afda3504de/possible-heap-corruption-detected-exception-code-3221225477?forum=winservergen
CONSISTENCY CHECK FAILURE or “Core consistency check failure”
This is a common error.
There are multiple possible causes, but the workaround is to apply a “Divide & Conquer” approach to your sequence so you can locate and remove the culprit(s).
https://avidtech.my.salesforce-sites.com/pkb/articles/en_US/Error_Message/Consistency-Check-Failure
https://kb.avid.com/pkb/articles/en_US/troubleshooting/Divide-and-Conquer
SFPlayConsumer::Execute TIMEOUT
This is a common error. It means something is getting in the way of Media Composer performing as quickly as expected.
https://kb.avid.com/pkb/articles/en_US/Knowledge/en388455
Also, confirm all Avid Requirements are in place on that workstation.
It seems too good to be true, but Mimiq really delivers on doing one thing and one thing well. Revisit this guide when you trigger your next set of traps in Media Composer (without or without Mimiq), and, like Indy, you’ll live to fight another day.
FIND THOSE MISSING CLIPS USING THE TIMELINE INDEX IN FINAL CUT PRO
So you opened your Library and found some red alert icons in your Project. That means the underlying media or asset for a Clip is missing.
No sweat! Typically, you can just relink those Clips to their media and get to work.
But what if Final Cut Pro still shows you some red badges in your Project?
Here’s an oft forgotten Final Cut Pro feature: use the Timeline Index to quickly find those red badges and then decide what’s next.
How?
- Open your Project, then open the Timeline Index by clicking
Indexor pressShift-Command-2. - Click the
Searchbar or pressCommand-F. - Type
missing.
Final Cut Pro will show you a list of all missing Clips as they appear in your Project in chronological order.
With that list, you can click each item or press the Up Arrow or Down Arrow keys to fluidly jump between them in your Project’s timeline. As you resolve a missing item, it will disappear from the Timeline Index.
Missing some Motion Content (i.e. an Effect, Generator, Title, or Transition)? If it’s free Motion content, perhaps it just needs to be installed in the correct location. If it’s a purchased piece of Motion Content, you’ll likely need to install the vendor’s license manager app – such as MotionVFX or FxFactory – log into it, then reinstall what’s needed for that Library on your Mac.
The next time you see some red badges in your Project: don’t panic. Use the Timeline Index, search for those missing items, and you’ll be back to J and L cuts in no time. 👌🏽
DOES MIMIQ REALLY DO BIN LOCKING IN AVID MEDIA COMPOSER ON NEXIS STORAGE NOW?
With Mimiq Pro 24.2 and newer? Yes.
How easy is it?
Just mount your NEXIS workspaces along with any other eligible third-party volumes, launch Mimiq, then launch Media Composer. That’s it. 👌🏽
(Honestly, it took me longer to find this article’s cover image than to write this. 😁)
Enjoy all the Bin Locking (and Bin Refresh) on all the storage!
Read-Only Memory (https://readonlymemory.com) is publishing the definitive book on Wipeout, the iconic anti-gravity racing series for Playstation.
Can’t. Wait.
ON RENAMING AVID MEDIA COMPOSER’S MEDIA FOLDERS
There’s a scene from Mr. Mom where Jack Butler (Michael Keaton’s character) drops off his kids at school for the first time.
As he pulls into the parking lot, his kids bluntly declare, “You’re doing it wrong!”
Moments later, the crossing guard Annette (Miriam Flynn’s character) pulls him over, sweetly greets him, then tells him:
Consider me your Annette for a moment as we talk about renaming those special media folders Avid Media Composer uses.
“South to drop off, north to pick up.”
Annette told Jack, “We enter from the south and exit from the north,” to drop off the kids at school.
If you want to open a Clip and see and/or hear something in Media Composer, the right media files must be stored in the right folder for the right situation:
OMFs
- When Working Alone -
/OMFI MediaFiles/(N) - When Playing in a Band -
/OMFI MediaFiles/(Someones Computer)
MXFs (OP-Atom)
- When Working Alone -
/Avid MediaFiles/MXF/(N) - When Playing in a Band -
/Avid MediaFiles/MXF/(Someones Computer).(N)
MXFs (OP1a)
- When Working Alone -
/Avid MediaFiles/UME/(N) - When Playing in a Band -
/Avid MediaFiles/UME/(Someones Computer).(N)
I’ve written about this in Mimiq’s documentation, but now I’ll be more direct.
“You’re doing it wrong.”
Dailies Technicians, Assistant Editors, Media Managers… I implore you: please stop renaming these special folders.
Why?
Avid didn’t design Media Composer to allow humans to understand where your media will be stored for a specific Project (or in a specific Bin). That’s why you have Bins – you use Bins to organize your Clips, Clips are linked to media, and Media Composer was built to manage where to store the underlying media.
Also, renaming those folders after Media Composer generates the media index files (i.e. the PMR and MDB)? Yes, that works, but only when someone on the team continually (and fastidiously) renames additional incoming media folders using the same naming convention. But if you’re playing in a band and someone consolidates/transcodes something new to a shared volume with those renamed folders? Media Composer will create a new /1 folder, which will cause Media Composer to perform unpredictably. Most notably, someone will open a Clip with media they know is available on their shared storage only to be shown MEDIA OFFLINE.
Be Like Jack
Eventually, Jack got it.
In fact, he became so good at dropping off his kids, he became a crossing guard himself!
If renaming those special folders is a bad idea, what can you do?
- Let Media Composer store the media where it wants, then use MDVx to scan media folders to determine which media belongs with which project, then copy, move, or delete some media accordingly.
- If you must rename your folders, then rename the numbered folders based on something like a timestamp. For example:
- “../Avid MediaFiles/UME/Isaacs MacBook Pro.20240612” could mean this folder is full of dailies from the June 12, 2024 shoot.
- “../Avid MediaFiles/UME/Isaacs MacBook Pro.202406121337” could mean this folder is full of dailies from the June 12, 2024 shoot ingested at 1:37 (13:37) that day.
Further, if human-readable filenames are another layer in your breadcrumb trail, use EditReady to transcode your dailies. EditReady will use the filename of your source media in the resulting filenames of your transcoded media.
In the end, Jack didn’t just make the crossing guard pool. He and Annette ended up being good friends.
So as your Annette for this read, I sign off by asking: please… stop renaming those media folders.
(And remember: south to drop off, north to pick up. 😄)
THE IMPORTANCE OF COFFEE TIMES AND JAM SESSIONS
Well, today’s the day. PostLab 2.0 is now available in Early Access Release.
One massive innovation in PostLab 2.0 is Event Locking for Final Cut Pro. As a diehard fan of FCP (née FCP X) and PostLab Classic, I’m proud to share Co-Inventor honors for this feature alongside Jasper Siegers, PostLab’s creator.
But what sparked all of this?
Since Hedge is spread across multiple time zones, the leadership scheduled regular time slots so teammates could come in and hang out with each other. These occasions were simply known as Coffee.
The time slots shifted based on the team’s needs and daylight savings time, but Coffee typically happened over Zoom or Around at 10:00 and 3:00 (15:00) in your time zone.
Of course, I’m in the US (ET). But the rest of the team is six hours ahead of me in Europe (mostly The Netherlands) on Central European Time (CET).
A couple of years ago, I was in a 3:00P ET Coffee when – 🛎️ 🛎️ – Jasper stopped by.
When it became clear we would be the only ones in that Coffee, he started telling me about some of the foundational work he was doing on PostLab 2.0.
I asked, “Since it’s so early, can we dream the impossible dream for a sec? I know we can do locking on a Library level, but what if we could do locking on Events in a Library?”
Based on Jasper’s vantage point, he didn’t think that was possible.
Then I threw out to him, “Well… what if we did this…?”
Jasper thought about it, tried it, and that seemed to work!
Then I said, “OK… if that’s true, what if we tried…?”
Jasper tried that, and that seemed to work too!
For Reasons, I cannot disclose the actual contents of that conversation.
But in my mind? It felt a lot like this:
Conventional Wisdom says, “Remote teams don’t work. You just can’t get those organic hallway/watercooler/coffee moments like you can in a real office.”
What do you think?
Jasper was up at 9:00P his time. That wasn’t typical.
I was the only person at 3:00P Coffee that day in the US. Also not typical.
What started as a typical Coffee slot morphed into a jam session (maybe one hour or so because we got carried away 😄), which led to an industry-first – true collaboration for Final Cut Pro with Event Locking.
I celebrate this phase of PostLab 2.0’s release with Jasper, Simon, Tim, Taco, Freek, Paul, and the rest of the Hedge team. It’s a monumental achievement.
Learn more about PostLab 2.0 on Hedge’s blog: https://blog.hedge.video/postlab-faqs/
CAN YOU EDIT FROM AVID MEDIA COMPOSER MEDIA (MXFS) IN OTHER VIDEO EDITING APPS?
Yes, but you have to plan for it or know if those MXFs could be useful in your favorite editing app.
MXFs come in two varieties: OP-Atom and OP1a.
OP-Atom MXFs are the individual video and audio streams Media Composer then combines into one Clip inside a Bin.
If you use something like IINA or VLC to open an OP-Atom MXF:
- If that MXF contains a video stream, you’ll see video but won’t hear any audio.
- Conversely, if that MXF contains an audio stream, you’ll hear the audio recorded on that channel, but you won’t see any video.
Other video editing apps like Final Cut Pro and Premiere Pro can play OP-Atom MXFs, but unlike Media Composer, those apps can’t combine OP-Atom MXFs and present them to you as one single Clip in their UI.
Enter OP1a MXFs.
Where you can liken OP-Atom MXFs to (yes) individual atoms – one MXF file equals one stream of video or audio – an OP1a MXF is All Inclusive. OP1a MXFs contain all the video and audio you recorded in one file. And yes, you can open OP1a MXFs in capable video player apps like IINA or VLC, and they’ll open just as you would expect when opening other media files, like MOVs and MP4s.
But is that really true?
Here’s a set of OP1a MXFs.
I transcoded one set of files to DNxHD (1920x1080 at 25 fps) and another to DNxHR (3840x2160 at 23.98 fps) using Hedge’s EditReady and this workflow article I wrote for EditReady.
Here’s Final Cut Pro 10.7.1, which can decode DNxHD and DNxHR MXFs.
I imported these OP1a MXFs into an Event, inserted them into a new Project, and – boom – I’m cutting with OP1a MXF media. That’s it. 👌🏽
You can follow the same steps in Premiere Pro and get the same results.
But you might say, “OK I hear ya Hot Sauce, but… why?”
We’re in an era when video editors expect interoperability. Projects like OpenTimelineIO (OTIO) are getting closer and closer to becoming a new standard for getting work in and out of your favorite video editor. Avid themselves are now publicly showing how Media Composer may support OTIO.
But how Media Composer generates and uses media – special files that must be placed in special folders – has always been a hurdle.
Using OP1a MXFs from Media Composer, you can take one step further toward working on the same set of media in whatever editing or finishing app you wish.
And if you think OP1a MXFs aren’t intended for editorial, you might check out these resources:
Made by TAIYAKI (https://www.youtube.com/@tnozaki4372).
⭐️⭐️⭐️⭐️⭐️
Also see the Making Of…, just phenomenal.
🍿
USING MIMIQ - BUT HOW DO YOU REALLY KNOW…?
Here’s something Avid Media Composer teams often ask me:
“OK… Mimiq says I’m supposed to have Bin Locking on these volumes, but how do I really know?”
The key is Media Composer recognizing a volume as an Avid NEXIS Drive.
But will Media Composer just… tell you which volumes are Avid NEXIS Drives? Yes indeed:
- macOS -
Avid Media Composer > About Avid Media Composer > Hardware > Avid NEXIS Drives - Windows -
Help > About Avid Media Composer > Hardware > Avid NEXIS Drives
Don’t believe the UI? You can double down on your skepticism using Media Composer’s Console with this command:
DumpVolumes
The result is a list of volumes Media Composer can see, plus this handy bit of info: the filesystem of each volume.
When you see:
- macOS -
fileSys: FILE_SYS_AVIDFS - Windows -
fileSys: FILE_SYS_AVIDFOS
That’s how you really know – you have Bin Locking (and now refreshing locked Bins!), thanks to Mimiq. 👌🏽
Hello! My contract with the amazing team at Hedge has come to an end, so it’s time I hang out my #OpenToWork shingle.
Do you know someone who could use someone like me?
- Workflow Architect / Strategist
- Solutions Consultant
- Technical Writer
Let’s talk! 🙂
Feel free to DM me, or: hey@isaact.co
It’s hard to talk about Formula 1 without spoiling a race. But today was another race where I have to say:
I really enjoy Formula 1.
#MonacoGP
Phil Rosenthal and his family and team are good people. Thoroughly enjoy their show.
Been a massive fan of Carrtoons for so long. Their Tiny Desk is just… so right.
Congratulations, Ben, Joanna, et al. I still remember seeing y’all at The Rosendale Street Festival back in 2013.
(Seriously, who can help them get on The Tonight Show?)
Right on.