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Avid: December 2008 Archives

Avid Technology publishes a list of supported computers that will work correctly with the latest version of software. Unfortunately, there is always a risk when using an un-tested computer. Most common problems related to running Avid Media Composer on an unsupported machine are related to the graphics card or audio card that is installed on the system. In one example, I attempted to run Media Composer on a Dell 7700 workstation. Unfortunately, the on-board audio did not work with the Media Composer software.

If you run into a problem where your brand new Avid software does not support your computer's graphics card, all is not lost. Here's a quick tip for avoiding the 'Can't find any audio cards in your system' error message.


I'm still going back and forth with some programmer friends on just how reckless I should be in
my approach to "simplifying" FLVs in iWeb, so I'm afraid I'll have to string you on for a bit longer on that article.  But rest assured -- I've not forgotten, and the Frame Controls article is coming up relatively soon as well.

In the meantime, here's a piece that's hopefully more useful than most "filler" -- the technical story behind Portable Network Graphics, or PNGs.  Read on for what they are, where they came from, and (most importantly) when they're a good idea in the video production workflow.
supercharging-compressor.pngYou can find more compression settings articles in our Supercharging Compressor series index.

You can be plenty good at video work if you only know that bigger bitrates are usually better -- but if you're going to be a guru when it comes to the quality of your video output, it's worth taking a closer look at the concept from the ground up.

Luckily, it's a fairly simple concept.  Let's take NTSC video as our example: 30 frames per second, each 720 pixels wide and about 480 high.  Each broadcast-safe pixel, in RGB space, could take up 235 values for each color (red green and blue), so it needs 24 bits of information to describe it.  If we were to try to store a second of NTSC-type video completely uncompressed using this bitmap scheme, we would need

30 * 720 * 480 * 24 = 248,832,000 bits, or about 30MB -- per second!

Try slapping THAT on YouTube -- or a DVD, for that matter.
With the growing popularity of Final Cut Studio, some of us are forced to learn how to use multiple editing platforms. Sometimes, you may find a machine that has both Avid Media Composer and Final Cut Studio installed on it.

If you haven't used the LiveType application within Final Cut Studio, you're missing out on an incredible application. LiveType can be used to create some amazing effects with a minimum amount of effort. LiveType can also be used for complex video compositing, such as creating an animated video wall.

Believe it or not, there is some direct integration between Avid Media Composer and Apple LiveType. The procedure is very similar to how you would use LiveType with Final Cut Pro.

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This page is a archive of entries in the Avid category from December 2008.

Avid: November 2008 is the previous archive.

Avid: January 2009 is the next archive.

Find recent content on the main index or look in the archives to find all content.