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I reported the problem on the Avid Community Forum website to see if anyone had experienced the same situation. I then launched Avid Media Composer and got the error message ‘Bus Error Thread’. I followed through the usual uninstall routine first and then installed Avid 8.3. I then paid for and downloaded the latest Avid version. Once the hard drive had backed-up, I installed Yosemite, which all progressed smoothly.
#Pluraleyes 4 export aaf mac
I then had two copies of the Avid projects in a safe place in addition to my MAC 1TB hard drive. I also ran a Carbon Clone of that Raid 5, so I had protection should I have a RAID failure. The first thing I did was to back up my Macintosh HD onto my Pegasus RAID 5. As I found out, it was to be technical support that I needed. Buying into their perpetual licence scheme means that I also get the next years Avid upgrades and their technical support for the coming year as well. I could have stuck with Avid version 7.0.3, but that would have meant I could not edit native 4k. I decided to buy into the Avid perpetual licence scheme which meant I had to pay £228 for the next whole year to use Avid. In my experience, a workaround can generally be found with most new Avid bugs, but these can take extra edit time to resolve and implement. Even so, new bugs can appear that can cause a significant headache to your workflow and affect deliverables. Avid always does release a document listing their qualified systems and compatibility. Careful consideration needs to be given to Avid upgrades when working in a live broadcast environment with multiple clients and associated systems, for example, Avid Interplay and ISIS.
#Pluraleyes 4 export aaf upgrade
Whether to upgrade your operating system and Avid version is more straightforward for me compared to that for a post-production house or facility. I think it’s always best to avoid upgrades when you are under pressure or have work deadlines to meet.
From experience, I know that significant upgrades usually have at least a few problems to resolve, which can take some time to fix.
#Pluraleyes 4 export aaf free
Do you have free timeīefore I started, I ensured I had scheduled some clear workdays. Whist this was written some time ago the essential elements around allowing time to resolve problems without any transmission deadlines still apply. I’ve been editing for broadcast clients on Avid since 1998 and experienced in managing both straightforward one client and more complex multi-client system upgrades.
#Pluraleyes 4 export aaf software
4K editing with Avid Media Composer How the software updating process worked out
#Pluraleyes 4 export aaf update
So I decided to update my Avid edit suite from version 7 to the latest version 8.3 and at the same time took the opportunity to upgrade my MAC operating system from Mavericks to Yosemite 10.10.1. I wanted to make sure that I can edit in 4K (which Avid version 8.3 enables). I always need to stay up to date with the latest in video production technology and the options new software offers my video editing and production service. I hope I have been able to make this one clear.Upgrading Avid Media Composer is always part of being an Avid editor. Syncing before handing over to AEX seems to be a problem too, as I was told the nested subclips don't import into AEX well.Ĭurrently the vfx-crew and editor are using a kind of master-guide in AEX which they are editing too, re-import this to Premiere, and use it to manually sync each clip (will see what pluraleyes can do there). The question - how do we get the audio to me for post? We've tried pluraleyes on the final export wav, but it throws in all the files on top of each other, as it is one audio file, and not the individual edits. So far (for the first episode of about 8) they haven't gone over to syncing audio and video for the rough edit, as importing the multitrack audio and video results in huge AfterEffects sessions (in case you don't know the software, every clip is put on a new "layer", so you end up with a glissando-like long list of many many tracks and events). The cutter does the rough edit in Premiere Pro, and hands that to the vfx crew, who post and composite the shots and do fine-tweaking and trimming of the cut. There is a guide track on the camera though, and about 4 tracks of boom/lavs on the SD788. Camera and recorder don't seem like they were timecode-synced during the shooting. The film was shot mainly in green-screen. I am looking for workflow tips I can pass on to the editor and vfx crew.
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