Can't find what you need? Or just plain stuck? Reach out, we're happy to help: [email protected]

Office Hours

You can email us about anything 24/7, and you'll likely get a fast reply if it's between 9 AM CET and 6 PM CET. If you email us outside those hours, we'll pick up your email in the morning. That means that if you're in the USA, you can expect a reply overnight.

We don't guarantee a reply within 24 hours on working days, but it has rarely happened that we were not able to send a reply within a fraction of that. Our response time is typically under an hour, with 90% of emails responded to within 15 minutes.

Please don't email us to ask if we received your email if you didn't get a response within 24 hours, as that will only add to the response time as we then suddenly have two emails waiting for a reply 😁

Evenings, Weekends, and Holidays

During evenings, weekends and holidays, we monitor our inboxes for issues we classify as blockers: things that prevent you from working, not being able to log in to one of our services, not receiving your shiny new license key, etc. Not a blocker? Your email gets snoozed until Monday morning — then you'll be the first.

During these hours, don't expect a reply within minutes. We're likely busy with things like living a life, putting kids to bed, talking to people who are not thinking about workflow, you get the gist

Remember, support outside office hours is a courtesy, not a privilege.

macOS

macOS 11.x (Big Sur) and newer

Final Cut Pro

FCP 10.3.x and newer

• Installing Canister on macOS

• Installing Canister on Windows

Canister itself doesn't have any requirements in terms of CPU and RAM, but LTFS does like ample resources.

Which versions of macOS and Windows are supported?

Can any media be rewrapped?

Some video codecs can only exist within certain wrappers. And some wrappers only support certain video codecs. For example, MOV files can contain main historical codecs that are no longer in use, whereas MXF files are limited to a smaller, more modern set of codecs.

Is rewrapping lossless?

Yes, rewrapping does not decompress or recompress your video data. The default rewrap setting in EditReady does decompress your audio to a lossless (LPCM) format. Many editing applications don't deal well with compressed audio, so this makes your rewraps more broadly compatible. If you want to maintain your source audio in its compressed format, you can make a custom preset with Passthrough for both audio and video.

Can I rewrap AVC-Intra footage from MXF to MOV?

One thing to be aware of is that not all NLEs can handle all video codecs in all wrappers. When it comes to AVC-Intra in particular, the Adobe applications (like Premiere Pro) tend to work better with MXF than with MOV. Applications like Final Cut Pro tend to work fine with AVC-Intra rewrapped into MOV.

The General Settings pane exposes a few common settings that can be used to customize how EditReady processes files. For most users, the default settings will be correct and should not be adjusted.

Parallel Job Count

This setting controls how many files are converted in parallel. By default, EditReady automatically configures itself based on your computer's capabilities and will attempt to fully utilize your Mac's processing power.

Reducing the job count may be helpful in reducing memory consumption on machines with very limited RAM, especially when working with very high-resolution (8K / 12K) footage.

Audio Bit Depth

EditReady produces 24-bit audio by default. This is the industry-wide default for video editing and post-production. However, some workflows or hardware playback devices may require reduced-bit-depth audio.

Hardware Acceleration

All modern Macs have powerful video encoding and decoding hardware, which can speed up video conversion by multiple orders of magnitude. However, this hardware can have trouble decoding the latest video formats. Disabling hardware acceleration and using a purely software-based approach can help process those files in those cases.

Users of EditReady 1.x, 2.x, or ClipWrap are entitled to discounted upgrades for EditReady. Just enter your key in the latest release of EditReady, and you'll be prompted with an upgrade link.

If you purchased ClipWrap from the Mac App Store, contact us for a discount coupon: [email protected]

You can automate FoolCat by calling the app URL foolcat://. You can call this URL from any app or script that can open a URL.

Requirements

• FoolCat 20.1 or newer

Using a browser

Copy/paste the URL below in a web browser, press Enter, and FoolCat will open.

foolcat://open

Using a shell

Copy/paste the command below in a shell, press Enter, and FoolCat will open.

open 'foolcat://open'

start 'foolcat://open'

Calls

Activate

foolcat://activate?key=<your-license-key>

Deactivate

foolcat://deactivate

Create Report

foolcat://create?source=<source-path>&destination=<destination-path>&name=<report-name>&description=<report-description>

Looking for the Hedge documentation? Starting October 1, 2023, Hedge version 23.2 is now known as OffShoot.

You'll find OffShoot's documentation here.

If run into Avid errors that you think are related to Mimiq, please email us a screenshot. Include which Mimiq version you are on, your Media Composer version and license type, and describe your media and storage. That ought to give us enough to go on.

Logs

To send us your log files, open the Mimiq app, click the hamburger, then Help > Collect log files for support. Save that log somewhere convenient (e.g. your Desktop) and email it to [email protected].

Canister is so simple to use that most users don't need anything to get started. If you don't have a tape drive at hand, check out this video:

Final Cut Library Manager customers can receive a discounted upgrade for Arctic.

If you didn't receive your upgrade coupon when Arctic was released, email us –  – and we'll send you an upgrade discount.

Can't activate Arctic?

Final Cut Library Manager (FCLM) used a different license key format than Arctic:

• Arctic - ABCD-EFGH-IJKL...

• Final Cut Library Manager - FCLM...

You must use an Arctic license key to activate Arctic. You cannot activate Arctic with a license key for FCLM.

Make sure you’ve installed , then activate it with your license key for Arctic.

Still stuck?

Reach out to Support here – – then send us these details:

• The version of macOS you're using:

• The Arctic version you installed:

• Screenshots (or a screen recording!) of what you're experiencing

• Some details on what led up to your experience

Sending us your database

Sometimes, we request you to send us your Arctic database to have a better look. Use this Terminal.app command to generate a zip on your Desktop, which you then can send to us:

Before using a LTO, it needs to be formatted. When Canister detects a non-formatted tape it will prompt to format the tape.

Tape Initialization

Up to LTO-9, tapes do not require initialization. When inserting a new LTO-9 tape into a drive for the first time, the LTO drive will spool through the whole tape. This process can take considerable time. If you do no have this luxury, some vendors like Symply sell pre-initialized media.

If your drive is of an older generation that LTO-9, you can simply insert a tape and continue with formatting.

Formatting

Each LTO tape needs to be formatted before usage, kind of like with a hard disk. If a tape is not yet formatted, Canister will prompt you to do so:

Each LTFS-formatted tape requires a name and may use an optional serial. A serial must be 6 characters.

If you do not have a system in place to track tapes using the serial, we suggest allowing Canister to prepopulate the serial using the date. This simple mechanism results in a value like 240724 for July 24th, 2024, and gives context for when a tape was created.

Erasing Tapes

Due to LTO's linear nature, files written on tape cannot be deleted without erasing the whole tape. Erasing a tape can be done in-app through the LTO menu:

Renaming Tapes

As of Canister for Mac 23.1 it's possible to rename tapes without formatting. In order to rename, the tape cannot be mounted. Changing a tape's serial is not possible without a format.

Discovery Channel-Compatibility

Some years ago, the Discovery Channel created a delivery spec for LTO. This specification requires the party delivering LTO to Discovery Channel to add a specific XML file to the root of the tape. This XML file needs to be written to the index partition instead of the data partition of LTFS tapes. A specific LTFS setting is required when formatting a tape to make this possible. As this setting is not obstructing any non-Discovery Channel workflow, all tapes formatted by Canister adhere to this spec.

Netflix-Compatibility

When delivering tapes to a major studio such as Netflix, it's best practice to disable LTO hardware compression. The Netflix-Compatibility option does just that and is available when you Format or Erase a tape.

NanoPure™️ Support

From 23.2 onward, Canister for Mac supports tape media by MagStor. NanoPure tapes are pre-cleaned, with calibration data recorded to the Cartridge Memory after testing. Canister uses this information to calculate system health at the end of each Archive or Retrieve operation. Each Transfer Log will contain a NanoPure score: Good, Average or Poor.

In the event of a poor result you might consider retiring the tape, or contacting your hardware vendor for a thorough diagnostic check.

Queuing makes it quick and easy to stack up multiple transfers for each tape drive. When queued transfers are made, Canister works its way through the list of queued items until completion.

Queuing also gives you the flexibility to use different LTO drives independently of one another. That means Drive A can be Archiving, whilst Drive B handles a Retrieve.

From 24.2, it's possible to manage library inventory without leaving the Canister interface - simply drag and drop between your Drive, tape slots, and Mail Slot.

Mail Slots

Most Tape Libraries feature at least one Mail Slot. A Mail Slot allows tapes to be removed and transported without powering down the device. For convenience, Canister's Tape Library Manager shows Mail Slots alongside regular tape slots.

Hardware Support

Tape Library Manager is validated for use with the following models:

• Qualstar Q24

• BDT Flexstor II

• Quantum Superloader 3

As most libraries are using the same underlying hardware from BDT, there's a good chance tape libraries from other vendors work just as well with Canister. Feel free to reach out when in doubt, or if you'd like to share that your variety of tape library also works.

HPE tape libraries are not (yet) supported.

How many LTO decks can I operate with a Canister license?

Canister supports multiple tape decks being connected to the same computer, and they can all be used at the same time.

I have multiple computers with each its own tape deck.

For multiple computers with each its own LTO deck, you'll need multiple activations. Adding additional activations to your license can be done in the .

How do I add Windows Support to my License?

Windows support can be added by simply Extending your existing Canister license in the .

I have a tape library, do I need Canister Pro?

Yes, Canister Pro is required to work with tape libraries. Support for tape libraries is currenly limited to macOS.

My license key won't activate the latest Canister

Chances are you have a license that starts with id and ends with ods or uks. This is a legacy license, and cannot be used with versions newer than 20.1. for an upgrade coupon or continue to use the now-legacy Canister .

Connect is our companion app that gives you live insight and push notifications about the state and progress of your transfers, transcodes, and archiving.

Connect is available for all licenses that are eligible for updates and support. Pro licenses automatically send their data to Connect, while non-Pro licensees must manually hook up their computers to Connect in-app.

Dashboard

Connect offers an online dashboard, available at . Log in with either the email connected to your license key(s), or your license key itself.

Setting Up

Connect is available in OffShoot, EditReady, and Canister. We have setup guides available for each app:

Requirements

Connect has seen several iterations in the last 10 years, and is currently on its third. That means not every application that shows a Connect panel is still functional. These are the minimum versions required for the current Connect:

• Canister 23.2

• EditReady 24.4

• OffShoot 23.2

EditReady provides easy, powerful, and fast transcoding for video professionals.

Modern production pipelines often involve generating a wide mix of QuickTime, MXF, AVCHD, and HDV files. A single production may use a mix of "A-Camera" files in ProRes422, "B-Camera" footage in H.264, as well as archive footage in formats like Apple Intermediate Codec.

EditReady lets you take this mix of files and convert them into a single mezzanine format, offering your post-production pipeline simplicity, reliability, and performance.

EditReady can also generate high-quality proxy media so you can take your media with you on the road or

EditReady supports any file in a QuickTime or MXF wrapper plus a wide range of vendor-specific formats, including many RAW codecs:

• Apple Intermediate

• ARRIRAW

• Blackmagic RAW (BRAW)

• Canon RAW

• Codex HDE*

• DNxHD

• DNxHR

• DVCProHD

• H.264

• H.265 (HEVC)

• Phantom CineRAW**

• ProRes

• ProRes RAW

• RED RAW (R3D)

• Sony RAW

• Sony X-OCN

Discovered a file EditReady won't convert? Tell us about it:

Note on Blackmagic Camera Support

When Blackmagic releases new camera models, third party applications often need to release an update to fully support the new model. If you've gotten the latest Blackmagic Camera and we haven't yet shipped an update for EditReady, you can install the on your computer. EditReady will default to using the newer version of the BRAW tools.

EditReady allows you to preview your files before conversion. To access the player, select the clip and choose Open Preview from the Clip menu, or press Command-3 on the keyboard.

Applying LUTs During Playback

Click the Add LUT icon to apply a LUT to your file during playback. This allows you to quickly preview any conversions you'd like to apply. For details on LUT support in EditReady, see .

Keep in mind that LUTs can be compute-intensive, particularly on 4K files. Slower computers (or computers with slower graphics cards) may have trouble with realtime playback.

EditReady has the ability to convert excerpts from clips, using our trimming feature. To mark in and out points on your clip, first open it in the player by double clicking on the clip thumbnail. In the player view, there are "in" and "out" buttons attached to the play controls. Use those to adjust your clip.

After marking "In" and "Out" points, a small scissors icon will appear on the clip thumbnail to indicate that it will be trimmed during conversion.

There are a number of ways in which EditReady can join media, depending on the type of source you're working with.

Manually Joining Files

To manually join files, select the files you wish to join within EditReady, then select Join from the Clip menu. You may also split joins using the Split command in that menu.

EditReady will only allow you to join media if the files all have the same frame size and framerate. If there's a mismatch, the Join menu option will be disabled.

GoPro

EditReady will automatically join files that follow the standard GoPro naming conventions.

AVCHD and HDV

AVCHD and HDV cameras and direct-to-disk recorders automatically split long recordings across multiple files. This split happens at a low level, so the files need to be recombined before they're converted. If you add the root AVCHD folder from a card, or a set of HDV files with a known naming scheme, EditReady will automatically join them.

If you only have the MTS files, without the rest of the card metadata, . EditReady will attempt to detect whether the files are from a consecutive group, and will take the appropriate action to join them.

MXF Files

Most cameras that work with the MXF format do not have limited file sizes. However, some Canon cameras do split long recordings across multiple files. In these cases, EditReady will attempt to automatically join the files.

EditReady includes powerful file naming features, so that you can keep track of all the files in your post-production pipeline.

The popup menu to the right of the Dest File Name label is pre-populated with a handful of options. For example, you may choose to have your output file names match the input file names, or you may wish to rename your output file names with an automatically incrementing number.

Customizing File Names

In addition to the presets, you can add additional values from your file's metadata to the file naming scheme. , you will notice a small tag 🏷 icon next to each metadata key.

Drag that 🏷 to the Dest File Name field to include that metadata element in the destination filename.

For example, you may wish to add the Reel key and the Creation date keys to the existing Auto-increment entry. You can drag and drop to rearrange values within the Dest File Name field, and you can type to add characters like dashes or underscores. So, you could easily have all of your output files named (Reel)-(CreationDate)-(Auto-increment).mov.

You can also use a forward slash / to include folders in your output naming scheme. So you could use (Reel)/(Source Name) to generate a new folder for each reel in your batch.

Overwriting Existing Files

EditReady will not allow you to proceed if your destination files will overwrite your source files. In other cases where files will be overwritten, or where there is insufficient metadata to populate a filename, EditReady will alert you and allow you to continue.

Destination Folder

You can click the icon to the right of Dest Folder to select an output folder for your batch. Within the dialog, you will also have the option to select Same as Source (In OS X 10.11 (El Capitan), click the Options button). That will cause EditReady to store your output files in the same folders as the source files. Please note, EditReady will not allow you to overwrite your source media, so make sure your file naming scheme doesn't conflict with your existing files.

File Format

In most cases, EditReady outputs QuickTime (.mov) files. However, when DNxHD or DNxHR are the destination video formats, you may optionally choose to output in either the OP1a or OP-Atom formats, using the File Format dropdown. In all other cases, that dropdown will be disabled.

In general, when outputting H264 files with AAC audio, the MOV files written by EditReady can safely be renamed ".MP4" if your workflow requires that file extension.

Get a live overview of conversions in progress – yours and others – plus receive push notifications on completed conversions wherever you are.

Requirements

1. EditReady 24.4 or newer

2. A modern web browser

How to use

1. Go to EditReady > Settings > Connect.

2. Toggle Enable Connect to ON.

3. Copy the Connect Code by clicking the clipboard icon.

4. Click Go to Connect ✨, or go to in your web browser.

1. Enter the Connect Code or request a magic link (requires an EditReady Pro license).

2. Start a conversion in EditReady, which will then automatically appear on the Connect website.

FoolCat can apply a custom look (LUT) to the stills in your reports. Alternatively, you can set FoolCat to convert RAW footage to Rec.709 color space automatically.

Requirements

• FoolCat 24.1 or newer

• A LUT in the 3D .cube format (33x33x33)

How to use

1. Go to Settings > Color Conversion.

2. Click Manage LUTs to open the LUTs folder location in Finder/Explorer.

3. Copy your LUT files to this location.

4. Go back to FoolCat and choose your LUT from the dropdown.

   • Alternatively, choose Convert RAW to Rec.709 to automatically convert RAW footage to Rec.709 colorspace. (Currently only available in FoolCat for Mac)

Convert RAW to Rec.709

When Convert RAW to Rec.709 is enabled, FoolCat automatically detects and converts RAW clips shot in Log colorspace to Rec.709 colorspace. FoolCat performs the conversion based on the clip’s colorspace metadata and will ignore any viewing or creative LUTs encoded within the clip.

Supported formats

• ARRIRAW

• RED

• SONY RAW (Mac only)

• SONY X-OCN

• CANON RAW

• BRAW

• ProRes RAW

A small AppleScript App that creates an HTML page with links to all FoolCat reports.

• Supports Light and Dark mode theme

• Will also adjust the theme of the FoolCat reports

• Links and paths to local media are disabled/hidden

Which OS versions does FoolCat currently support?

Bin Locking stops others from overwriting your bins while you're working on them. It allows editors to collaborate, and was introduced by Avid in Media Composer.

With Bin Refresh, when changes occur on a bin locked by another editor, Media Composer will refresh a locked bin's state in your Project, exposing those changes. Bin Refresh also allows you to take command of a bin once it's no longer in use by another editor.

Lock States for Refreshed Bins

🟢 - You're in control with full read/write access to the Bin.

🔴 - Somebody else is working in this Bin. You have read-only access to it.

🟡 - The locked Bin you have open was updated. Click the Bin's padlock to see the latest version.

🔵 - The user who previously held the lock on this Bin has since released it. Click the padlock to acquire read/write access.

From time to time, we have new features that we'd like your feedback on before making them available to all users. The Beta Track is available to all users with a license that's within support and updates. Whenever we open up a Beta for users, we'll email you about how to gain access.

Requirements

A Mimiq or Mimiq Pro license eligible for updates & support.

Downloads

• macOS:

• Windows: coming soon!

Fast, verified data transfers with metadata management for offload and ingest. Formerly known as Hedge, OffShoot is your ideal companion when managing media.

Getting started

EditReady has two levels of automation:

• EditReady Pro: App URLs

• EditReady Server: headless CLI

App URLs

You can tell EditReady to do something by calling the app URL: editready://. You can call this from any app or script that can open a URL.

Requirements

• EditReady 22.4 or newer

Using a browser

Copy/paste the URL below in a web browser, press Enter, and EditReady will open.

editready://open

Using a shell

Copy/paste the command below in a shell, press Enter, and EditReady will open.

open 'editready://open'

Calls

Activate

editready://activate?key=<your-licens-key>

Deactivate

editready://deactivate

Add

Adds a file or folder to the clip view.

editready://add?sourcePath=<file or folder path>

Transcode

Transcodes a file or folder (also adds the file to the clip view).

editready://transcode?sourcePath=<file or folder path>&preset=<preset name / path or UUID>&destinationPath=<folder path>

FoolCat's fully functional trial generates a report on up to 5 clips so you can quickly see which metadata FoolCat reports based on your source files.

Avid has strict expectations when it comes to permissions, which is not always obvious when working with SAN storage like StorNext. While there are multiple ways to ways to skin this cat, here's a proven permissions model when using Stornext with Media Composer.

Folder Structure

In this folder structure example, the Project Folder is the folder you turn into a Mimiq Workspace.

• SAN volume

  • Avid Folder

    • Project Folder

      • Avid Projects

      • Avid MediaFiles

Client Permissions

Set the umask settings of each computer to 002 so that the default permissions of a newly created file will be 775, which means the owner and group will be able to edit.

Server Permissions

An alternative for the Project Folder permission is to set a group sticky bit on the group folder with chmod g+s Project Folder . This will cause all files and folders to have the same group id. That way, you don’t have to work with the Other permissions, and it will also open up the possibility to use StorNext’s quota system if required.

_{(With thanks to Nathan Fleming)}

Arctic scans the volumes connected to your Mac and displays a list of Final Cut Pro (FCP) Libraries (.fcpbundle files) it detects on those volumes.

Arctic can help you inspect, filter, and search the contents of your Libraries.

Arctic can also generate media reports to help you track which media was used in a Library.

Finally, Arctic enables you to clean your Library safely for:

• Preparing Libraries for archival purposes

• Removing reproducible Library data in preparation for PostLab use

• Reducing a Library’s size, recovering storage space

Getting Started

1. Connect or mount any volumes containing FCP Libraries to your Mac.

2. Launch Arctic to scan those volumes, called Sources.

3. Locate the Library listed in Arctic, then inspect or clean that Library.

Sources

A Source can be any volume connected to your Mac, such as:

• Direct-attached storage

• Network-attached storage with a shared folder mounted over SMB, AFP, or NFS

• FUSE-based volumes, such as a LucidLink Filespace

• A subfolder from any of these eligible volumes

Click the ➕ in the lower-left corner to add a Source.

To remove a Source, Control-Click a volume in the list, then choose Remove from List.

Inspecting

Arctic shows you how much storage these items use inside a Library .fcpbundle:

• Original Media Files

• Optimized Media Files

• Proxy Media Files

• Optical Flow Files & Stabilization Files ("Data")

• Render Files

Click a Library in Arctic’s scan results to see a per-category breakout of what’s inside each Library and how much storage each category of items consumes.

Arctic also displays a color-coded bar graph for each category, which you can contextualize by clicking:

1. Fixed - displays that bar at 100%, regardless of the storage space consumed

2. Proportional - resizes a bar in proportion to the percentage of the storage used in that Library

Finally, you can inspect the contents of individual Events by clicking the disclosure arrow next to that Event.

Cleaning

Arctic allows you to safely clean any temporary, reproducible data stored in your Library, such as:

• Optimized Media Files

• Proxy Media Files

• Optical Flow Files & Stabilization Files ("Data")

• Render Files

To clean a Library:

1. Select the desired Library from Arctic’s scan.

2. Click the checkbox(es) under the column(s) for the items you wish to remove.

1. Once you complete your selections, click the broom 🧹, read the confirmation dialog, then complete your cleaning or Cancel.

Filtering

You can filter an Arctic scan by two categories: Library and Media Status.

Library

• Show only libraries that are currently open in FCPX

• Show only libraries that have alerts

• Show other libraries items

• Show cache items

• Show external media folders

• Show external media items

Media Status

• Show online items

• Show offline items

• Show missing items

Enable/disable individual filters to include/exclude results from your Sources, or Option-Click an individual filter to display results based on that single filter.

Searching

You can 🔍 Search Arctic’s results, then refine those results by:

• Search library names

• Search event names

• Search project names

• Search media filesnames and also their custom names, notes and keywords created in FCP

• Search Finder comments for libraries and events and also the project notes created in FCP

• Search exported projects

You can also enable/disable individual search parameters to include/exclude results.

Reporting

Arctic can generate reports for the media used in your Libraries. These media lists are exported as Comma Separated Values (CSV) files you can store along with the associated Library and media for archival purposes.

1. Select the desired Library from Arctic’s scan.

2. Control-Click that Library and choose Export Media List to CSV….

3. Choose where to save your media list (the CSV), then Export To CSV.

Creating Library Templates

Do you have a Library with a frequently used set of Events, Keywords, media, etc.? Select that Library in the list, Control-Click it, and choose Create Template from Library….

Why is there a hand icon over a Library?

That Library is open and in use on another Mac. Hover over the hand icon to determine which Mac has that Library open.

Can I tell Arctic to rescan a Source for FCP Libraries?

Yes. Control-Click a Source, then choose Force scan for new libraries.

Why can’t I find something in Arctic’s scan results?

First, make sure all filters are enabled (purple, not gray).

Next, clear the 🔍 Search field, ensuring all search parameters are enabled (yellow, not gray).

Finally, Arctic stores its scan results in an internal database. On occasion, that database may become damaged. If this happens, you can safely reset Arctic’s database with these steps:

1. Quit Arctic.

2. Press and hold Option-Command while relaunching Arctic.

   • Once Arctic launches, release those keys.

3. Arctic will scan all Sources connected to your Mac once more.

Why do I need to reindex Spotlight?

If some Libraries are still missing from an Arctic scan, you may need to reindex Spotlight on your Mac.

How can I reset Arctic’s preferences?

If all else fails, you can reset Arctic’s preferences using this command in Terminal.app:

defaults delete video.hedge.Arctic.Mac

Why can't I activate Arctic?

You're likely trying to use a Final Cut Library Manager license key. Both apps use a license key in this format: ABCD-EFGH-IJKL…, but an Arctic license key contains seven groups of characters while an FCLM license has around twenty.

Confirm you're trying to activate Arctic instead of Final Cut Library Manager, then activate Arctic using the corresponding license key.

If you can’t locate your license key for Arctic, you an look it up online in the Hedge License Manager.

How can I migrate my existing Final Cut Library Manager data to Arctic?

1. Quit both Final Cut Library Manager and Arctic.

2. In Finder, head to Go > Go to Folder... (or Shift-Command-G).

3. In the dialog box that appears, copy/paste this path: ~/Library/Application Support/Final Cut Library Manager.

4. Copy the contents of that Final Cut Library Manager folder to ~/Library/Application Support/Arctic.

How do I uninstall Final Cut Library Manager?

In Finder, drag-and-drop Final Cut Library Manager.app from /Applications to the Trash, then empty your Trash.

To perform a comprehensive uninstall:

1. Download AppCleaner - https://freemacsoft.net/appcleaner/

2. Drag-and-drop Final Cut Library Manager from /Applications to AppCleaner then click Remove.

3. In Finder, empty your Trash.

If needed, you can also use these steps to uninstall Arctic.

Need help?

Retrieving files from a tape is easy; you can either retrieve a full tape or cherry-pick contents to retrieve just a few files.

Select the Retrieve tab. If no tape is loaded, do so first:

Mount the tape:

To retrieve the tape in full select the tape icon, and a border will appear. Click Next and then select a destination, and continue.

To retrieve a specific file, folder, or a collection of files and folders, click the drive menu (three horizontal lines) and select Select Files...

By default, the full tape's contents are selected. Unselect the root of the tape to deselect everything, and then navigate to what you need to be retrieved.

Canister will show you the size of your selection:

When done, click Next to select a Destination:

And continue...

When done, the progress bar turns green:

Open the accompanying Transfer Log if needed:

Retrieve with Finder

Canister makes it easy to retrieve files using Catalogs. In the LTO Archive, select a file or folder on a tape, right-click and select the "Retrieve..." Finder extension.

Retrieve with Full Path

When checked, files and folders selected for Retrieve will be copied to the destination, including the recreation of full paths as they exist on tape. This is useful when restoring projects that are sensitive to path changes.

Example:LTO-42/Production X/0001.mov is to be retrieved to ~/Desktop

• Without Retrieve with Full Path enabled, 0001.mov will be copied directly to your Desktop.

• With Retrieve with Full Path enabled, after retrieving 0001.mov your Desktop will be populated with a Production X folder containing 0001.mov.

Canister creates a range of log files for archival purposes, and console output for troubleshooting.

Transfer Logs

For each Transfer, whether it's an archive or retrieve, a Transfer Log is created.

Manifests

To create a manifest of a tape, containing paths and names of all files stored, use Create Manifest option in the LTO disk menu.

Canister's Console

Besides Transfer Logs, both Canister and LTFS events are recorded in the Console Log. This console output is essential to tackle issues with tapes, drives, and drivers.

Occasionally, your LTO drive is going to have a bad day. Users that are eligible for updates and support should reach out to the Canister Support Team for assistance - we got you 👊

Forensics

Sometimes, the above won't suffice. In such a case we ask you to send us all forensic data. These files are only used to help diagnose your issue, and are deleted afterwards.

zip -ATrq ~/Desktop/CanisterForensics.zip ~/Library/Application\ Support/Canister/.ConsoleHistory ~/Library/Application\ Support/Canister/Transfer\ Logs ~/Library/Application\ Support/Canister/Warning\ Logs

Do you really need all of that? Yes.

LTO issues tend to become very technical very quickly. That's why there's not much we can do without logs files and console output. We're not a strict bunch, but LTO is an exception: if you have an issue that we feel requires us to have a look at these files, we will not help until you send them over. And no, a remote session won't do.

Default File Handler

Occasionally, EditReady might become set as the default file handler for some types of video files. That means when you double-click on a file (like an MP4), it opens in EditReady instead of QuickTime Player.

To correct that, follow these steps.

1. Highlight any movie file in Finder.

2. Press Command-i on your keyboard.

3. In the Open with: section, select "QuickTime Player".

4. Click Change All...

Errors During Conversion

If you run into an issue during conversion, begin by confirming that your files play correctly in another application. QuickTime Player or VLC are good general purpose players, but for RAW formats you may need to use a special player from your camera vendor. If your files don't play correctly, they may have been corrupted at some point during your workflow. If possible, re-copy the files from your source media.

Some issues may be caused by invalid output destinations. To test whether this is the case, try setting the Dest Folder option to your Desktop. You can also try moving your source media to your Desktop to rule out any external or network storage issues.

Transcoding directly from SD cards can be especially problematic, as SD cards can generate errors during the types of sustained reads from transcoding operations.

MXF, HDV (M2T), and AVCHD (MTS) Files

You can test whether your MXF or AVCHD/HDV (MTS/M2T) file is valid by trying to play it with the free video players like:

• IINA

• VLC

If the file plays in one of these apps, but won't open or convert in EditReady, reach out: [email protected]

Can I use EditReady to create dailies/rushes for Media Composer?

Yes. A step-by-step guide is available here:

Why can't I activate EditReady?

Legacy EditReady versions (2.72 and older) use a different key format than EditReady 22.1 and newer.

• EditReady 22.1 and newer - ABCD-EFGH-IJKL...

• EditReady 2.72 and older - MNOPQRST...

First, verify you're using the desired version of EditReady with the appropriate license key (EditReady > About EditReady). Then activate EditReady accordingly.

How do I know which version of EditReady I can use with my license key?

If you purchased EditReady after February 1, 2022, you can use the Hedge License Manager to look up your EditReady license key (version 22.1 or newer).

Otherwise, you likely purchased a legacy EditReady before Divergent Media was acquired by Hedge. You can look up your legacy EditReady license key online.

How can I upgrade my legacy EditReady license key to the new EditReady?

1. Locate your legacy EditReady license key in your email, or online.

2. Download and install the most recent version of EditReady: https://hedge.video/download/editready/macos

3. Launch EditReady, then click Activate...

4. Copy/paste your legacy EditReady license key in the Activation number field, click Activate, then click Buy upgrade...

5. A personal discount code will be applied. Complete the checkout, and you'll receive a new license key for the latest version of EditReady.

1. Activate EditReady with that new license key.

I'm not ready to upgrade EditReady yet. Can I use an older version for now?

Yes. You can download legacy EditReady versions in Releases under .

FoolCat generates camera reports, complete with thumbnails and extended metadata. Available on macOS and Windows.

Creating a Report

Drag and drop your camera footage onto FoolCat's main window, or click the + button to get started.

Labels

Change the report name by setting a Label: click the folder or disk name, and enter a new one to be used as the Report name. A label overrides the Report name setting in Preferences.​​

When done, the Report will look something like this:

Customization

FoolCat allows for a lot of customization of your Reports. Add a logo and other project information in the Report Preferences pane:

Thumbnail Creation

By default, FoolCat creates three thumbnails per clip; for the first, middle, and last frame. This amount can be changed in Preferences > Settings.

Report Location

The default location FoolCat saves Reports into is your Documents folder. You can also save an extra Report on the Source, which will be saved into the root of the folder or drive you set as a Source in FoolCat. Make sure that your source has write permissions for this setting to work properly; some camera cards are set to read-only.

Group PDFs in a separate folder

By default, FoolCat creates a folder for each report containing the HTML, thumbnails, and PDF. Alternatively, you can choose to automatically group the PDFs in a separate folder from the HTML report.

Mimiq enables Bin Locking for non-Avid storage. It's a standalone app for teams working with Avid Media Composer, enabling Shared Project workflows on:

• SMB, NFS, and AFP file shares in your local area network

• FUSE-based volumes, such as a LucidLink Filespace (Available in Mimiq Pro)

• Workspaces created from any type of storage (Available in Mimiq Pro)

With Mimiq, Media Composer recognizes these volumes as third-party shared storage so teams of Avid editors can work together using Shared Bins with Bin Locking in Shared Projects.

Mimiq Pro

Mimiq Pro enables remote and hybrid Shared Projects workflows by letting you use non-network volumes alongside SMB, NFS, and AFP file shares.

Mimiq Pro allows you to create Workspaces from any type of storage – such as a RAID, SAN (e.g. Quantum StorNext), LucidLink Filespaces, and even local folders – which Media Composer treats as independent NEXIS shares.

Mimiq Pro also provides NEXIS Coexistence, allowing one to utilize any type of storage for bin locking simultaneously with a NEXIS.

Avid Requirements

Independent of Mimiq (Mimiq doesn't have many requirements), Avid has very specific requirements for Media Composer to be used successfully. If you haven't done so already, be sure to implement these Requirements for Media Composer on each computer, whether you use Mimiq or not:

Queuing allows you to manage how many transfers will run at once:

• Off - All sources will be transferred at the same time. New transfers start while others are still running.

• Single Source - Only transfers of a single source run simultaneously. When finished, the next source starts automatically.

• Single Destination - Each source is transferred to a single destination at a time (requires Hedge for Mac 22.3.2 or newer).

• Single Transfer - Transfers run one by one, even when from the same source.

Sometimes, you want to offload yesterday's material and obviously not use today's timestamps. OffShoot allows you to control such metadata without having to reset your computer's time and date (which will lead to a bunch of trouble).

In OffShoot's Settings > General page, you can control date and time. Here, we've set the timestamp to Jan 1st:

You can reset the timestamp to again follow the system time by hitting the Now button. Until that button is changed, the date is static; in this example, it doesn't roll over into Jan 2nd.

For shoots that run late into the night, it's possible to automatically keep OffShoot from disregarding what is technically a new day. In this setting, OffShoot will switch to tomorrow at 4am (04:00)

When a source is too big for a single tape, Canister's Spanning engine comes in handy. This feature makes it quick and easy to Archive datasets that are larger than a single tape.

Getting Started

Adding new data to spanned tapes

It's likely that you won't fill up the last tape in a spanning set. Therefore, you can add anything you want to that last tape at a later time - no previously archived data will be affected. If the to-be-archived files fit, Canister will add it to the tape. If not, you'll enter the Spanning flow described above.

Spanning Questions

Spanning is an advanced feature that tends to lead to a few workflow questions. Be sure to check the FAQs below before reaching out to support.

Do I need to preformat my tapes?

No, Canister will ask you to format at the relevant points in the Spanning workflow. Insert the next tape, then follow the prompts.

How should I name my tapes?

This comes up quite a bit; the best bet is to name each tape sequentially, for example:

1. Archive_pt1

2. Archive_pt2

3. Archive_pt3

Is there a tape/item limit when Spanning?

Canister doesn't enforce any limits, however Spanning is best used with dataset that requires between 2-4 tapes.

Why? Because Spanning requires Canister keeping the entire source index in memory, which is a heavy lift. The chance of something going wrong on the hardware side of LTO increases exponentially the longer your LTO drive operates. As an upper limit we recommend Spanned Archives containing less than one million items.

How do I redo Spanning if something goes wrong?

As with all things LTO, hiccups happen. While with hard disks it's easy to redo something, due to LTO's linear nature errors tend to be showstoppers - at least temporarily. While Spanning, the chance that a tape runs into an issue or that an archive fails for some reason is, of course, compounded.

Canister gets around this problem by using its Dupe Detection implementation to the fullest: in case an error happens with any tape during a spanning archive, simply start over. It's important to feed Canister the tapes in the order they were finished, then let Duplicate Detection skip items already existing on each part.

Can I incrementally update a Spanned Archive?

While Canister supports Dupe Detection, due to LTO's linear nature, we don't recommend incremental updates to a Spanned Archive. File changes are likely to end up distributed over multiple tapes, which will get complicated when retrieving.

Why does Canister leave free space at the end of each Spanning Part?

Splitting files between multiple tapes is not a standard LTFS feature. As a result, each tape is likely to have a small pocket of space at the end.

Can I perform Simultaneous Spanning?

Canister for Mac does not support Spanning while creating simultaneous archives. Canister for Windows follows a different flow, which allows the next tape to be inserted for each drive.

From time to time, we'd like your feedback on new features before making them available to everyone. This Beta Track is available to all users with a Canister license eligible for updates and support.

Getting started

Feedback & Bug Reports

We like to hear when something is working well, but perhaps more importantly, we need to know when something isn't. Feedback can be sent in-app via the Contact Support button. Bonus points for notes on how to reproduce any unexpected behavior.

EditReady is an integral part of a post-production workflow. To make the usage even more seamless, you can create custom presets that match your workflow needs. Begin by selecting the Custom preset in the preset dropdown.

Video Format

EditReady allows you convert to Apple ProRes, Avid DNxHD, and H.264. You may also choose to pass the input video directly to the output file (using the Passthrough option). This is helpful if you only need to adjust the audio track or metadata of your file.

Apple ProRes

Apple ProRes is a popular editing format, whether you're working with Final Cut Pro, Avid Media Composer, Adobe Premiere Pro, or DaVinci Resolve.

EditReady allows you to choose from five different ProRes options: ProRes 422, 422 HQ, 422 LT, 422 Proxy, and 4444. The "right" choice will be different for each workflow. But, in general, if your source is already compressed (e.g. an h264 file from a GoPro camera), the standard ProRes 422 file will be fine.

Avid DNxHD

DNxHD is a popular editing format for workflows involving the Avid ecosystem. EditReady provides three DNxHD choices: Low, Medium, and High.

These choices may be confusing if you're used to seeing DNxHD listed with a variety of bitrates. EditReady selects the correct bitrate automatically, based on your input file's resolution and framerate.

For example, if your source is 1920x1080i60, the Low, Medium, and High settings correspond to DNxHD 100, 145 and 220, respectively. For a 1920x1080p24 file, the bitrates are 36, 80 and 176.

If you'd like to see a full chart of the bitrates used by DNxHD, take a look at the from Avid.

Avid DNxHR

Avid DNxHR is designed for larger-than-HD sources, like 2k and 4k. EditReady suppots DNxHR, but you'll need to create a custom preset in order to use it. Select Custom from the preset dropdown, then select the desired DNxHR codec from the Video Format dropdown. You can save that preset for reuse later by selecting Save Current Preset from the batch menu.

For details on the framerates, frame sizes, and bitrates that DNxHR supports, see the .

H.264

If you'd like to use EditReady for generating files for distribution, or for creating very small proxy files, the H.264 setting is a good option. This setting will automatically select a bitrate high enough to preserve the quality of your source footage without introducing substantial artifacts.

Audio Formats

EditReady includes three options for audio formats - Uncompressed, AAC, and Passthrough. Passthrough will preserve your source audio. This is useful if you only wish to change the video essence or metadata of your file.

Uncompressed (PCM)

Uncompressed PCM audio is the most common and interoperable method for working with audio on a computer. This is the recommended option for any editing platform.

AAC

AAC compressed audio is an ideal choice if you'll be creating H.264 compressed files for distribution.

None

Remove the audio entirely.

By utilizing Cascading, you can offload faster. If one of your destinations is faster than the others, Cascading allows you to copy to your fastest destination and then copy from that destination to other destinations. This lets you free up the source earlier, independent of the verification mode used.

Requirements

How To Set Up

1. First, set your fastest disk as Destination. This is typically an SSD or RAID. Using a NAS as the primary destination is not recommended, as this will bog down your network bandwidth.

2. Drag the next disk you want as a Destination onto the primary Destination and release when a blue outline appears (Figure 1). Repeat for additional Destinations.

1. A Cascading Group will be created, with an arrow indicating the flow (Figure 2).

2. When you've added a Source and then hit Add Transfers, transfers will be created for each destination. The transfers that cascade from the primary destination will start when the primary transfer has been completed. The Source can be ejected as soon as the cascading transfers start (Figure 3).

Alternatively, you can set up Cascading via the Disk Menu (or right-click a disk); select Cascade from... and choose a Destination (Figure 4).

Advanced Workflows

With an OffShoot Pro license, advanced Cascading workflows are possible.

Copy from your primary destinations to multiple other destinations (Figure 5), or switch to continue to cascade, where each previous destination becomes the source for the next destination (Figure 6).

It's also possible to create multiple Cascading Groups with multiple primary disks acting as sources for secondary disks (see Figure 7).

Limitations

• To modify your cascading setup, you must drag disks out of Destinations.

• Cascading transfers won't show up in Connect yet.

• Cascading transfers are not yet.

• Cascading from S3 is not supported.

Browse a Source and select which folders you want to transfer, each with its own label and preset. Cherrypick folders and label them directly in the browser.

Requirements

• OffShoot 24.4 or newer

• A Pro License

How to use

1. Click the Disk Menu icon and select Source Folder > Ingest...

1. Select the folders you want to set as Sources.

2. Click the blue Set Sources button.

Every folder will become an independent Source. By default, OffShoot will add Sources to the transfer queue as a batch. This feature can be disabled in Settings > General > Batch-add Sources to transfer queue.

Setting Labels

To set Labels directly in the Ingest Browser, right-click a folder and choose Add Label... (shortcut: Command-Enter / Control-Enter)

Keyboard shortcuts

Connections are stored in these keys:

• S3AwsConnections

• S3GenericConnections

A connection is structured using the following JSON format:

Creating a connection

You can create an AWS S3 connection from a JSON file using the structure listed above with the following Terminal command:

The connection's Secret Access Key is stored in the login Keychain as an Application password item, which you can create with the following command:

Checking existing AWS S3 locations

Write current S3 connections to a JSON file

(For backing up or editing the JSON file.)

Need to stop a transfer? Did a transfer fail? You can stop and resume transfers in OffShoot at your convenience.

Requirements

• OffShoot 24.1 or newer.

How to use

• When a transfer is running, stop it with the Stop button.

• Once stopped, you can resume the transfer with the Resume button.

  • You can also resume Failed transfers, or transfers that report Completed with warnings.

When resuming:

• OffShoot will ensure the correct Source is resumed by comparing the Source index.

• Partially copied files or files OffShoot did not successfully verify are removed from the destination and transferred again.

• Changing OffShoot's global application settings will affect restarted transfers. Only Organize, Verification, and MHL-related settings are retained for each transfer.

• OffShoot will resume by restarting the transfer and skipping files that are already on the destination based on rules.

Limitations

• Resuming a transfer will result in a new Transfer Log and new (ASC)MHL files containing the newly transferred files.

• Resuming a partially copied/verified file is not possible.

OffShoot will automatically detect duplicates when copying data into an existing folder structure. A file will be not be copied when all of these conditions are met:

• A file with an identical name exists in the folder the copy will end up

• That file has the same byte size

• That file has the same modification date

When a file with an identical name already exists on the destination path, but has a different byte size and/or modification date, it will be copied using a counter following Finder and Explorer's duplicate naming conventions: B002C006_180327_R1ZA.mov becomes B002C006_180327_R1ZA 2.mov.

Logging

Skipped files will be logged in the Transfer Log, under the section:

-- Skipped files (already on destination) --

Duplicates that do not match all criteria are logged as such:

-- Transferred files -- #1: B002C006_180327_R1ZA.mov path: XDROOT/CLIPS/B002C006_180327_R1ZA 2.mov

Finding duplicates without copying

If an identical file exists in a different folder on your destination, the source file will be copied. If you are looking for a way to find duplicates on an existing drive, have a look at or .

Installers

The latest installer for Windows is available here: https://hedge.video/download/canister/windows

Preflight Checks

Setting up an LTO drive can be daunting, even for experienced users. Canister's Preflight Checks function tries to help as much as possible by conveniently linking to the relevant bits and pieces.

Upon each app start, Preflight queries WMI (Windows Management Instrumentation) for a list of compatible LTO drives. On the software side, it also helps to setup LTFS and its dependencies.

In a nutshell:

🟢 Everything green - you're good to go, and Canister will automatically continue.

🟠 Orange indicates a part of your setup is not 100% up to date, but it's fine to continue as is.

🔴 Red means your setup won't do. Preflight Checks will tell you how to resolve it, if possible.

Downloads

For reference, here's a list of all drivers and dependencies that we host for Windows. We regularly update this list, so there's no need to worry about checking if they're the latest version.

Hardware

Each Thunderbolt-based LTO drive consists of three devices:

1. The Thunderbolt-to-PCI board

2. A Host Bus Adapter (or "HBA"), a device translating PCI to SCSI

3. The LTO drive itself

Non-Thunderbolt LTO drives, connected via SAS or Fibre Channel, will connect to an HBA in an external box or as a PCI card inside your computer.

The only part of your hardware that requires a driver is the HBA.

Host Bus Adapters

First, ensure your LTO drive is visible in Device Manager. That will require you to manually install the appropriate driver for your host bus adapter (HBA). LSI cards tend to be recognized automatically by Windows, but ATTO and Areca HBAs generally require a driver download.

Once your HBA is functioning, your LTO drive should appear in the Cassette/Tape drives list.

Installing LTFS

Installing IBM LTFS on Windows is a straightforward process. Follow the steps below in order, then reboot the system.

1. Install Microsoft Visual C++ 2010 Runtime x64

2. Install IBM LTFS for Windows 2.4.5.1

"I give up"

Can't get up and running? Running in circles?

It can happen and is typically an indicator of a deeper problem. The company that sold you your LTO drive and/or Host Bus Adapter should be your first line of contact, as this is about your hardware - not Canister. That said, we're happy to help if that's a dead end. Don't hesitate to contact us, and be sure to include a screenshot of Canister's Preflight Checks.

We won't give up on you

Each time a tape is mounted, Canister will create a Catalog for it. This makes it easy to see what's on a tape without having to mount it first.

The LTO Archive drive

On a Mac, when Canister is open, all Catalogs are available as a virtual drive called LTO Archive. Since a driver installation is required, Canister will prompt you for the installation. You can also download the installer directly from our servers.

Creating Catalogs

Canister automatically creates a Catalog the first time it mounts each tape, and updates existing Catalogs upon each consecutive mount. Also, after each Archive transfer the Catalog for that tape is updated automatically.

Importing Databases with NeoFinder

NeoFinder for Mac offers integrations between many other LTO-focused apps and Canister, making it a breeze to convert your old databases to Catalogs. For more information, refer to NeoFinder's documentation.

Finding files using Catalogs

Retrieve from Finder

On macOS Canister installs a Finder extension that allows you to retrieve a file or folder directly from the Catalog. Right-click the folder you want to retrieve and select "Retrieve" to launch Canister. This will trigger Canister to check if the correct tape is mounted and automatically select the required files. Then, Canister will ask to specify a location to retrieve to.

Catalog History

Canister creates a Catalog when mounting a tape and updates it after each Archive. Catalog history is stored for safe keeping as described below.

Editing and removing Catalogs

Use the steps below to clean up the Catalog, or remove test entries:

Changing the Catalog location

Migrating Catalogs

In the event you need to move to a new computer, Catalogs can be moved as follows:

tar -cvzf ~/Desktop/catalogs.tar.gz ~/Library/Application\ Support/Canister/Catalogs

Get a live overview of Canister transfers in progress – plus receive push notifications on completed transfers wherever you are.

Requirements

• Canister 23.2 or newer

• A modern web browser

How to use

1. Go to Settings > Connect.

2. Toggle Enable Connect to ON.

3. Copy the Connect Code by clicking the clipboard icon.

4. Click Go to Connect ✨, or go to https://connect3.hedge.video in your web browser.

1. Enter the Connect Code into the Connect site.

2. Start a transfer in Canister, and your transfers will appear on the Connect site.

Receive Notifications

Connect can send push notifications about completed Canister transfers to a network-connected device.

1. Once you log into the Connect site, click the grey bell icon (i.e. the notification button).

2. Click Allow in the notifications popup on your device.

3. When the grey bell turns blue, Connect will send you notifications for completed transfers.

Enable Push Notifications from the Connect site on mobile devices

• iOS 16.4 and newer:

  1. Go to the Connect site

  2. Save Connect as a web app by tapping the share button in the iOS toolbar, scrolling to the bottom of the menu, and tapping Add to Home Screen.

  3. Open the web app and click the notification bell icon.

  4. Enable Notifications for this website when prompted.

• Android - Use notifications to get alerts

Change connection name

By default, Connect will display the Computer Name.

The connection name can be changed in Canister > Settings > Connect > Computer Name.

Revoke access

Use the Revoke Access button in the settings panel to cancel all connections to the Connect site. A new Connect Code will be generated automatically.

On the Connect site, you can delete a connection to a device by hovering over the device listed under Connections, then clicking X next to it.

When I try to activate FoolCat (licensed or a trial), why am I told, “No virtual machine activations allowed.”?

Running FoolCat in a VM is a Pro feature.

If you see this error when activating a trial, you're running FoolCat in a VM, or a Hypervisor process must be active in Windows.

If you see this error when activating a purchased license, you have a regular license or a Pro license that needs VM activations allowed on your license.

A step-by-step guide for disabling any-and-all Hypervisor (Hyper-V) and Virtual Machine features on your PC is available here:

If you have a regular license and need VM activations, upgrade your license in the License Manager, then reach out.

Already on a Pro license? Reach out.

FoolCat states error -1004

You're likely on an old version of FoolCat, update to the latest version.

"Invalid activation number"

You're likely trying to activate FoolCat using a legacy license key. Legacy license keys start with id or only have a few characters. Upgrade your license, or download a legacy version.

FoolCat states "Starting Services"

FoolCat's media engine isn't starting correctly. Reboot your computer, and if that doesn't help, reinstall FoolCat.

How can I export/import settings?

mkdir C:\\Temp

reg export "HKEY_CURRENT_USER\\Software\\FoolCat" "C:\\Temp\\FoolCatSettings.reg"

(Get-Content "C:\\TEMP\\FoolCatSettings.reg") -notmatch '("BuildVersion"|"LicenseVersion")' | Set-Content "C:\\TEMP\\FoolCatSettings.reg"

Installation

When you attempt to add your first Workspace on macOS, Mimiq performs a Preflight Check to confirm macFUSE is installed and loaded on your Mac. If not, Mimiq will prompt you to install macFUSE.

macFUSE

macFUSE is a macOS kernel extension used to create virtual filesystems. It's built and maintained by Benjamin Fleischer (https://osxfuse.github.io). Mimiq automatically downloads the installer for the latest macFUSE release that is confirmed to be compatible with Workspaces.

If you are on older machines, like Intel Macs, you might need to download an older version of macFUSE at https://github.com/osxfuse/osxfuse/releases.

Apple Silicon and Reduced Security

On Apple silicon, you'll first need to set your Mac's security policy to "Reduced Security" to be able to load signed kernel extensions. If you're on Intel, you can skip to Install macFUSE.

1. Shut down your Apple silicon Mac.

2. Press and hold down the power button until your Mac boots. Your Mac will either send you directly into macOS' Recovery environment, or you'll see an Options button leading to that.

3. Log in with your user account and select the disk you want to use.

4. In the menu bar, go to Utilities, then select Startup Security Utility.

1. Click Security Policy...

1. Select Reduced Security, then enable: Allow user management of kernel extensions from identified developers .

1. Click OK.

2. In the menu bar, select Shut Down.

3. Turn your Mac back on (press but don't hold the power button this time), then log in.

Install macFUSE

1. Click + Add Workspace. If Mimiq can't detect macFUSE on your Mac, Mimiq prompts you to install macFUSE first.

1. Click Install. Mimiq downloads a DMG with the macFUSE installer, then opens it for you.

2. In the mounted macFUSE DMG window, double-click Install macFUSE, then follow the prompts to complete installation.

Right before you complete macFUSE installation, a System Extension Blocked or System Extension Updated dialog will appear. Now you'll need to approve macFUSE to load in macOS.

Approving macFUSE in macOS

Confirm which version of macOS you're using with Mimiq, then follow these steps to approve macFUSE to load in macOS:

Once macFUSE is installed, you're ready to add your first Workspace. ✅

Still no success?

Try loading the kernel extension manually in Terminal:

If that returns an error like system policy prevents loading and/or doesn't load macFUSE, your computer is very likely under IT management policies that prevent kernel extensions to load. Talk to your IT department first, they'll know what to do.

Generations

Every few years, the Ultrium Consortium (consisting of IBM, HP, Quantum, and tape manufacturers Sony and Fuji) releases a new version of LTO. These versions are known as generations. Each generation holds more TB per tape, and sometimes newer drives are also faster.

As any generation older than LTO-5 does not support LTFS, we don't take these into consideration.

Tape Capacities

With all the marketing that surrounds LTO, it's good to set things straight from the get-go; the advertised tape capacity is not a realistic value.

The advertised capacity is a raw byte count, and doesn't account for file system overhead and the space the index partition will require.

As not having enough free space for the indexes results in unmountable tapes, Canister reserves 5% of the free space for indexes. The result is a more realistic free space calculation, as shown in the last column.

If required, you can decrease this reserved amount of space using this Terminal command:

defaults write nl.syncfactory.Canister.Mac ReservedTapeIndexPercentage -int n

where n stands for the percentage integer, e.g. 5 for 5%.

WORM Media

As Write Once Read Many ("WORM") tapes cannot be partitioned, they are incompatible with LTFS. Be sure to use rewritable tapes with Canister.

NanoPure™ Support

From 23.2 onward, Canister for Mac supports tape media by MagStor. NanoPure tapes are pre-cleaned, with calibration data recorded to the Cartridge Memory after testing. Canister uses this information to calculate system health at the end of each Archive or Retrieve operation. Each Transfer Log will contain a NanoPure score: Good, Average or Poor.

In the event of a poor result you might consider retiring the tape, or contacting your hardware vendor for a thorough diagnostic check.

Tape Initialization

Up to LTO-9, tapes do not require initialization. When inserting a new LTO-9 tape into a drive for the first time, the LTO drive will spool through the whole tape. This process can take as long as two hours and is indicated on the Single Character Display as a lowercase c. For convenience, some vendors like Symply sell pre-initialized media.

If your drive is of an older generation that LTO-9, you can simply insert a tape and continue with formatting.

Migrating

While the LTO consortium touts a 30-year lifespan for tapes, their hardware definitely won't last that long. That's why it makes sense to migrate your archive to a newer generation once every few years. How often depends on the size and value of your archive.

Here's how many tapes you can migrate to a newer generation:

EditReady provides a set of additional adjustments that can be added to your batch. These are available via Show Additional Options which can be found in the Batch menu. Each library entry has a set of adjustments, and is saved as part of your presets.

Framerate Adjustment

EditReady allows you to adjust the output framerate of your file during conversion. This is sometimes called conforming. This setting adjusts the playback rate of your media, it does not add or remove frames from your footage. This setting is especially useful when creating slow-motion footage with a source that shoots at 60 or 120 frames per second (or higher). Framerate adjustment is not available when using passthrough settings.

That means converting PAL to NTSC and vice versa, 23.97 to 25p, etc, also works - with the caveat that you don't want to do a massive jump. 23.97 to 25 is fine, but 29.97 to 25 is maybe a bit too much.

LUTs

EditReady allows you to load LUTs ("Lookup Table") which can apply color grading looks to your footage during conversion. This can be very powerful if, for example, your camera records in the log space, but you wish to edit with a linear mapping. EditReady supports LUTs in the 3DL and Cube formats. If you attempt to load a LUT in an unsupported format, EditReady will prompt you to submit the file to Hedge, so we can evaluate adding support for that format in the future.

If you save a new preset with a LUT, that LUT will be included in the preset.

Please note, LUTs require additional processing, and will slow the conversion process.

Frame Size Adjustment

This option allows you to resize your source media to match a destination size. Three scaling options are provided.

1. Source Aspect Maintain the aspect ratio of the source clip, and fit it within the target size. For example, a 4096x2160 source clip with a 1920x1080 target size would be scaled to 1920x1012 in order to maintain the aspect ratio.

2. Destination Size (pad) Add padding (black bars) to fit the scaled source within the target size. A 4096x2160 source with a 1920x1080 target would have small black bars at the top and bottom.

3. Destination Size (stretch) Stretch the source to fit the target size, regardless of the aspect ratio.

Scale quality This option allows you to set the scale quality for RAW files and has two options:

1. Best (slowest)

2. Good (faster)

When "Best" is selected, EditReady will decode the full resolution RAW file and then scale the frame using a high quality scaling algorithm. When "Good" is selected, EditReady will perform a scaled decode of the source RAW format. This can lead to a very substantial performance increase, but may result in slightly less detail. This is a great option to select for things like proxies and dailies.

Encoder Advanced Options

This entry is specifically for presets that use the H.264 and H.265 codecs. By default, EditReady does a high-quality encode which aims to preserve the image quality of your source. This setting allows you to adjust a variety of H.264 and H.265 parameters. These settings will be disabled if your destination codec is something other than H.264 or H.265.

Target Bitrate

This will instruct EditReady to aim for this bitrate as an average for the file. The automatic setting will adjust automatically to maintain a high quality image.

Keyframes

This is a control for the number of keyframes (I-frames) per second in the output stream.

Profile

H.264 and H.265 have a wide variety of profiles for encoding. EditReady will choose the appropriate sub-profile based on the bitrate, keyframe, entropy coding, and resolution settings.

Entropy

H.264 and H.265 provide two types of entropy coding. In general, CABAC is more efficient, but may require additional CPU power for playback and may not be supported on old devices. In those cases, you may wish you use the CAVLAC setting.

Remove Audio Channels

Remove silent audio channels from output file

Many cameras now record four or eight channels of audio. In almost all cases, only one or two channels are actually used. By enabling this option, EditReady will scan for silent channels and remove them during conversion. EditReady will only remove channels that are truly silent (digital silence - all zeros) and not channels that are just very quiet (for example, an XLR connector without a mic attached).

Preserve audio channels

Some workflows require a specific number of audio channels. This option lets you specify how many channels to keep in the output. EditReady will preserve the first X channels from the source file, maintaining channel layout for compatibility with editing and broadcast systems.

Video Overlays

The Video Overlays option provides a powerful toolset for creating custom overlays on your videos. These can be used to burn in timecode, add watermarking, scene labels, and much more. After enabling the Video Overlays option click Launch Editor to launch the graphical overlay builder. Overlays are saved as part of presets.

Text Overlays

To add custom text to your overlay, click the T icon in the upper-right corner. A new text box will be added to your overlay. You can click and drag to move the text box, or resize it. Click in the box to edit the text. You can use the controls on the right side of the window to adjust your font size, color, background, and more. By default, text will have a black background. Adjust the background opacity to remove the background.

Image Overlays

Image overlays make it easy to add graphical watermarks to your video. To add an image, click the image icon in the upper-right corner, then select any image file from your Mac. EditReady supports transparency in overlay images, which makes it ideal for things like network logos. Click and drag to move or resize your image.

Metadata Overlays

Metadata overlays allow you to customize your overlays based on data from your video files. For example, you can add timecode burns, or include a reel name. To add a metadata overlay, open the Overlay Editor. Then select a clip within EditReady and select Edit Metadata from the Clip Menu. Then simply drag the metadata tag icon from the Metadata Editor to the Overlay Editor. Your metadata key will appear in the Overlay Editor, surrounded by a rounded rectangle. You can adjust the font size and background color just like a text overlay.

Color Conversion

The color conversion option gives you the ability to conform all of your input footage to a single output color space. If your production is working with footage from a variety of cameras, this allows you to standardize your footage going into your edit workflow. When generating proxies from log media, you can use this functionality to convert your footage to a standard video (Rec709) space for wider playback compatibility.

The color conversion is applied prior to the LUT stage, so your LUTs can operate on a single consistent colorspace regardless of your input footage.

EditReady ships with a wide set of industry standard colorspace options, including both log and standard video outputs.

Timecode Overwrite

This option allows you to add or change a time of day timecode track using the file's creation or modification timestamp.

Recreate Source Folders

The Recreate Source Folders option allows you to replicate the directory structure of your source folder. For example, if you've organized your clips by day, camera, and card, you may wish to preserve that structure when generating proxies, without mixing your proxies with your source media.

The text entry field allows you to specify how many folders above the clip to replicate. For example, using the sample directory structure below, entering a value of 1 would replicate just the Card 1 folder, 2 would replicate A Cam/Card 1 and so on.

EditReady can transcode your source media into Avid codec-based MXFs to speed up and simplify your dailies (or rushes) workflow.

There are two types of MXFs Media Composer can use:

1. OP-Atom

2. OP1a

OP-Atom

OP-Atom MXFs are the individual video and audio streams Media Composer then combines into one Clip inside a Bin.

When Media Composer transcodes MXFs, it typically names these files like this on your filesystem:

• Video - V01.(Some Hexadecimal Numbers).MXF

• Audio - A01.(Some Hexadecimal Numbers).MXF

With EditReady 24.1, you can transcode your source media into DNxHD-based OP-Atom MXFs Media Composer will recognize as one Clip. It also uses the name of your source media for your transcoded MXFs so you can quickly identify them on your filesystem and in your Bin.

OP1a

OP1a MXFs contain all the video and audio streams captured by a camera or recording device in one container, which Media Composer will see as one Clip inside a Bin.

EditReady can transcode your source media into OP1a MXFs – DNxHD or DNxHR – you can use in an editorial workflow.

How to use

1. Transcode your source media to MXFs

1. In EditReady, add the clips you wish to transcode.

2. Transcode your source media to the MXF that's best for your workflow, OP-Atom or OP1a.

1. Click Convert All.

Your transcoded MXFs are now available in the Dest Folder: location.

2. Copy the transcoded MXFs into one of Media Composer’s media folders

3. Launch Media Composer to index your media folders

The result of Media Composer’s indexing will be a msmMMOB.mdb file in each media folder:

• ../Avid MediaFiles/MXF/(Folder)

• ../Avid MediaFiles/UME/(Folder)

4. Use the MDB file to fill your Bin with Clips

1. In Media Composer, create a new Bin.

2. In Finder (macOS) or File Explorer (Windows), open one of those media folders – MXF or UME – and locate the msmMMOB.mdb file.

3. Drag and drop the MDB to your Bin.

You now have a Bin full of Clips ready to use in Media Composer, and those Clips will have the network-connected icon in your Bin.

Questions

Should I rename the folders inside ../Avid MediaFiles/(MXF | UME)/?

Many teams do, but we strongly recommend leaving those folders named as-is.

If identifying those MXFs by filename is important to your workflow, EditReady uses your source media filenames for the transcoded file names so you can easily do so.

What if I add new MXFs to an existing ../Avid MediaFiles/(MXF | UME)/ folder?

If you haven’t renamed those folders to something Media Composer doesn’t expect, Media Composer will reindex that folder, resulting in a new msmMMOB.mdb file. You can drag and drop that MDB file on a new or existing Bin, which will update your Bin with new Clips created from your transcoded MXFs.

Can Media Composer really use OP1a MXFs as media in an editorial workflow?

Yes.

Avid released the Universal Media Engine (UME) to support OP1a MXFs natively in Media Composer 2019.6.

Since 2019, Avid has removed installers for Media Composer versions that do not support UME.

You can read more about the Universal Media Engine and Media Composer’s native OP1a support at Avid’s Knowledge Base:

I already have a Hedge license, how do I get OffShoot?

If your license is eligible for updates until or beyond October 1, 2023, your license automatically becomes an OffShoot license. You can update your Hedge to OffShoot, and continue using your existing license key.

If your license is not eligible for updates on October 1, 2023, you'll need to extend your license to be able to update to OffShoot. You can do so in-app, or in the .

What does extending my license cost?

That depends on the amount of activations. Log in to the , select your OffShoot license and click Extend.

What is OffShoot's floating license?

are licenses with a single activation that "floats" between your computers - when you open OffShoot on one, the activation floats to that computer, temporarily deactivating the others. This way, you don't have to manually move your license between computers.

Do I want a floating license?

If you are working alone, but have multiple computers, a floating license is for you. If you need to use OffShoot on multiple computers at the same time, you will need multiple activations on your license.

What changes for multi-seat licenses?

Nothing, they work the same way in OffShoot as they used to work in Hedge. Your seats are now simply activations. In the future, we'll bring floating to these licenses, allowing you to register more devices than your license has activations.

What happened to the Company License?

Company licenses were Hedge licenses with more than 1 seat. Licenses now simply have one or more activations. If you had a company license, you now have a license with multiple activations.

What about the Emergency Activation?

Each Hedge license came with an additional activation in case of emergency. Thanks to floating that's no longer needed so we promoted all Emergency Activations to full activations, for free.

Why is there a Pro version of OffShoot?

As Hedge matured more and more, we found ourselves working on features that only benefit a small set of our customers, but are expensive to build. We think it's fair that only those that benefit are charged for those features. Here's more on the subject:

What does upgrading to Pro cost?

That depends on the amount of activations. Log in to the , select your OffShoot license and click Upgrade To Pro.

Can I upgrade and extend at the same time?

Yes, and it's discounted even more. Log in to the , select your OffShoot license and click Extend to find out what the options are for your license.

Why can't I reduce my activations to 1 in the Extend Checkout?

That likely means you have multiple machines activated with your license.

Head to the License Manager () and either reset you activations or deactivate Hedge from all of your computer except one. Then you'll be able to drop the license to 1 activation, which enables the floating functionality for your license.

Will my settings and presets still work?

Yes, all settings and presets are carried over from Hedge to OffShoot.

I'm using Codex, do I need to upgrade to Pro?

Only if you're using Codex Device Manager 7 or newer. If you're using an older Codex version, you can continue using the latest Hedge version available () with the same license key.

How do I upgrade to Pro?

In OffShoot, go to Settings > License and hit Upgrade to Pro, or go to the , log in with your email or license key, select your license, then .

I'm using off-the-shelf scripts, do I need OffShoot Pro?

Yes, you'll need to upgrade OffShoot to OffShoot Pro.

Will my existing scripts work?

Yes, but you'll need .

Where can I download the last version of Hedge?

All previous releases of Hedge are (and will remain) available under .

Can I run OffShoot and Hedge next to each other?

OffShoot replaces Hedge on install. If you really really really need to use both (never at the same time!) the trick is to move Hedge out of /Applications temporarily, install OffShoot, and move Hedge back into /Applications.

Still have questions? Let us know:

5. .

Install and activate Mimiq

Download and install Mimiq:

• macOS -

• Windows -

Mount any eligible volumes

Connect any local storage to your computer, or mount the desired network shares – SMB, NFS, or AFP – using either Finder (macOS) or File Explorer (Windows). Once those are mounted, any associated will be mounted as well.

FUSE-based volumes, such as a LucidLink Filespace, may be connected through their respective apps.

Launch Mimiq

Once the desired volumes are mounted, launch Mimiq, which will be available as a helper app in the menu bar (macOS) or System Tray (Windows).

If you have read and write privileges on those volumes, click the Mimiq helper app, and a list of volumes that report a green 🟢 status will appear.

Launch Media Composer

Launch Media Composer, then create a shared Project (or upload and open one) on the desired volume.

When Media Composer prompts you with the non-Avid storage alert, click Yes.

Then you can start working.

Shared Bins opened from an eligible volume will display:

• The Team Member's Computer Name currently accessing it.

• A lock status indicator.

Confirm Bin Locking is Activated in Avid Media Composer

If you need to confirm Bin Locking is activated on your desired volumes, check these preferences and settings in Media Composer:

✅ macOS - Avid Media Composer > About Avid Media Composer > Hardware > Avid NEXIS Drives: (the volumes listed in Mimiq)

✅ Windows - Help > About Avid Media Composer > Hardware > Avid NEXIS Drives: (the volumes listed in Mimiq)

✅ Settings > Project > General > Enable Bin Sharing on 3rd party storage emulating Avid NEXIS/ISIS

For teams who must continue working in macOS 10.14 Mojave and/or Avid Media Composer 2018 environments, we have a special build available: Mimiq 18.1

Requirements

• An Intel Mac (so not Apple silicon)

• macOS 10.14.x

• A Media Composer | Ultimate (or beyond) subscription or a Perpetual license

Getting Started

2. Download Mimiq 18.1:

2. Launch Mimiq.

3. Launch Media Composer.

4. .

Install and Activate Mimiq 18.1

Once you install Mimiq 18.1, locate your Mimiq Pro license key, copy it, then paste it into the Activate Mimiq dialog by:

1. Right-clicking the Activation number field.

2. Click Paste.

   • Note: you cannot paste in your license key using Command-V.

3. Click Activate.

Mount Any Eligible Volumes

Mimiq 18.1 will activate bin locking on the following types of volumes:

• SMB, NFS, and AFP file shares in your local area network

• FUSE-based volumes, such as a LucidLink Filespace

Confirm Bin Locking is Activated in Avid Media Composer

If you need to confirm Mimiq 18.1 activated Bin Locking on your desired volumes, check these settings to make sure Media Composer can see those volumes as an Avid NEXIS Drive:

✅‌ MC 2018.12.x: Info > Hardware > Hardware Tool > Avid NEXIS Drives: (your SMB, NFS, AFP, or FUSE-based volume)

✅ MC 2021.x: Avid Media Composer > About Avid Media Composer > Hardware > Avid NEXIS Drives: (your SMB, NFS, AFP, or FUSE-based volume)

You can also open Media Composer's Console (Command-6) and look for this line of text in the output: Avid Shared Storage is installed. (Avid NEXIS)

Questions

Aren't both Mojave and MC 2018 are out of support?

Yes.

Apple discontinued support for macOS Mojave 10.14 in November 2021. The final update for macOS Mojave is , which results in Version 10.14.6 (18G9323).

Avid ended the development of Media Composer 2018.12.15 on December 31, 2020, and on December 31, 2021.

That means that if you run into issues with Mimiq 18.1, the cause is either macOS 10.14 and Media Composer 2018. If so, your only option is to migrate away from macOS 10.14 and Media Composer 2018.x.

Why won't Mimiq 18.1 install on my Apple silicon Mac?

macOS Mojave is incompatible with Apple silicon Macs. If you are on Apple silicon, use the current Mimiq release:

Why can't I activate Mimiq 18.1?

A Mimiq Pro license with an available activation is required to activate Mimiq 18.1. You can use the same license key you use to activate other Mimiq versions.

You can and through the Hedge License Manager ().

If you purchased a standard Mimiq license, through the Hedge License Manager.

Which file shares are supported in Mimiq 18.1?

• SMB, NFS, and AFP file shares in your local area network

• FUSE-based volumes, such as a LucidLink Filespace

Can I use Mimiq 18.1 alongside Mimiq in the same environment?

Yes!

How do I deactivate Mimiq 18.1?

Mimiq 18.1 cannot be deactivated in-app. If you need to deactivate a computer with Mimiq 18.1, you must do so

Media Composer

A Media Composer | Ultimate (or beyond) subscription or a Perpetual license is required. If you're not on this year's Media Composer release, we recommend running at least the latest minor version of the year you're on.

Operating Systems

• macOS 10.14.6 (requires a Pro license and )

• macOS 10.15.7 or newer

• Windows 10 or 11 (64-bit, Pro and Enterprise)

  • You must use to install or uninstall Mimiq.

macFUSE

Workspaces on macOS require macFUSE. Mimiq automatically downloads the latest compatible version for the most recent macOS release.

As macFUSE releases tend to be backward compatible, installing the latest macFUSE release tends to suffice. If not, you can find older releases at the website.

Avid's Requirements

Mimiq has a broader range of supported OSs and Media Composer than Avid. A complete list of qualified combinations of operating systems and Media Composer is available at Avid:

Independent of Mimiq, Avid has very specific requirements for using Media Composer at peak performance. We've gathered a shortlist of these and published them here:

I can't see any Enable Bin Sharing... features in Media Composer under Settings > General.

‌You're using a standard subscription of Media Composer. An Ultimate subscription or a Perpetual license is required for shared Project workflows:

‌ > Collaboration & control > Shared bins & projects

Why does Media Composer say SYS_ERROR, OSErr:-61 when I try to open a Project on macOS?

Media Composer is trying to write to or create a folder (e.g. the /Unity Attic folder) but you don't have write permissions to the root folder of your volume.

Using a LucidLink Filespace? Try copying a small file into the root folder. If the upload fails and you’re certain you granted write permissions for a user or group to that specific folder, have each user...

1. Set the Root point in their Lucid app to that folder.

2. Quit Media Composer.

3. Quit-then-relaunch Mimiq.

4. Relaunch Media Composer.

If you don’t have access to IT or need assistance beyond Mimiq support,

When I open a Project, why do I get this error: File (Project Name).avp not found.?

Media Composer doesn't support all characters. If you're seeing this error, then your Computer Name has a diacritic character or accent in it. Rename your computer, replacing the diacritic with an equivalent character, and Media Composer will be able to open your shared Project.

First, , replacing the diacritic with another character.

In this example:

❌ Isaac T - über Mac

✅ Isaac T - uber Mac

If you tried opening a shared Project from Drive before changing your Computer Name, you also need to remove the folder with a matching name from your Project.

1. Quit Media Composer.

2. While Drive is connected, go to your shared Project folder and locate the folder named after your computer with the diacritic (e.g. Isaac T - über Mac) within the ../AvidSharedData folder.

1. Move this folder to the Trash.

1. Relaunch Media Composer and reopen your shared Project.

I'm getting an "Exception: Resource Temporarily Unavailable, filename:/ ..... .pmr" error

Unfortunately, you've encountered a generic Media Composer error.

Mimiq's sole objective is to tell Media Composer, "That storage right there? That's an 'Avid NEXIS Drive' now." It doesn't alter your folder or file permissions nor impact performance to your storage. This error stems from something happening on your own storage.

It could be that the PMR file in your ../Avid MediaFiles/MXF are corrupt and need to be rebuilt. With Media Composer not yet launched or hidden, try deleting the PMR and MDB in those folders, then relaunch or un-hide Media Composer to rebuild them.

Besides that, there's no official workaround available, but it's always a good thing to confirm:

1. The permissions on your shared folders are correct.

2. The hard drives in your server aren't failing.

3. The network connection to your server isn't failing.

Done all that? Check if your NAS isn't serving both SMB and AFP shares. Even if you only connected to SMB shares, the mere fact that AFP is present can trip up Avid Media Composer.

Why does Media Composer ask me to "Mount All Volumes" when opening a project?

Last time you used Media Composer, one of your volumes likely disconnected while Media Composer was running.

Media Composer tracks any volume disconnects that happen during an editing session or after a crash. The next time you open a project stored on the affected volume, you'll be prompted to "Mount All Volumes." Once you complete this step, you can continue working as usual.

Mimiq says, Media Composer can’t be active when Mimiq starts.

If you launched Media Composer before Mimiq, Mimiq knows it won’t be able to activate Bin Locking on your volumes. Save your work in Media Composer (if needed), quit Media Composer, then click Try again to continue launching Mimiq.

I tried quitting Mimiq while Media Composer was open, but Mimiq says, Quit Media Composer before closing Mimiq.

Launch Mimiq before launching Media Composer to activate Bin Locking. After that, Mimiq must stay open while working on your shared Avid Project in Media Composer.

To prevent any unpredictability entering your Project, Mimiq will try to prevent you from quitting the app. If you know what you’re doing or Support directs you to do so, click Quit.

If I previously used Legacy Mimiq on Windows, what’s the best way to install the latest version of Mimiq?

1. Use Windows’ Apps & features panel to uninstall Legacy Mimiq (search for “Mimiq”).

2. Restart your PC.

3. Install

All transfers in OffShoot are always verified, so you can be sure your files are copied safely. By default, this is done using the method. If you need more thorough verification and protection, you can set a different mode in OffShoot > Settings > Transfers > Verification

Checksums

XXH64BE Checksums are always generated from reading source files and stored in Transfer Logs and MHLs. It's also possible to generate one or all legacy checksums (MD5, SHA1, C4).

Verification modes

Transfer

To enjoy maximum transfer speed, the file sizes of both sources and destinations are checked against each other. Note: do not use this mode if you plan to erase your sources.

Source

To rule out read errors, an independent source checksum verification is done. On destinations, the file size is verified. Use this mode if you’re erasing your sources while creating multiple backups.

When a source verification issue is found, the transfer stops. If a Destination verification issue is found, the transfer will continue and be completed with warnings.

Source & Destination

All sources and destinations are independently verified for maximum protection by reading back everything and comparing the resulting checksums and file metadata. Typically, it takes twice as long as Transfer Verification.

• Choose this mode when creating ASC MHLs.

• When a source or destination verification issue is found, the transfer will continue and complete with warnings.

MHL awareness

In Source and Source & Destination verification modes, OffShoot will automatically detect (ASC) MHLs on the source, and uses the listed checksums instead of rereading the source file.

Automatic MHL verification

In Transfer and Source verification modes, when transfers are successful and the Destination is idle, OffShoot will automatically reverify the newly created (ASC) MHL on the destination. When an issue is found, OffShoot will try to copy the file again using the Source or another Destination.

Manual MHL verification

It's possible to verify data without doing a transfer. Just double-click and then click Verify.

• Detects missing files and files with a hash issue.

• The verification results will be recorded in a log (hint: click the status underneath the progress bar to open the verification log).

• All ASC MHL files referenced in the ASC MHL chain.xml will be verified.

Batch Verify MHLs

Batch verify all (ASC)MHLs in a drive or folder via the context menu of a Disk.

Source Verification issue event

Fires when a source verification issue is detected.

Broken Media Detection

OffShoot displays an alert when 0-byte media files are detected on the source. This issue typically occurs with ExFAT-formatted cards that have not been ejected properly.

If Broken Media Detection somehow blocks your workflow, you can configure OffShoot to dismiss the alert automatically after 20 seconds. Use the following command in Terminal/PowerShell ( 1 = enabled, 0 = disabled).

Missing files detection

At the end of a transfer, OffShoot checks if all files are present on the destination. If any are missing, an alert is shown and a warning is logged.

Besides requiring drivers, LTO drives themselves rely on firmware. As a LTO drive is basically a computer, consider the firmware to be its operation system. This firmware is just as much under active development as are the drivers, and should therefore not ignored when troubleshooting. When you run into issue, but all drivers are installed correctly, make sure your firmware is up to date.

Note: firmware is vendor-specific. Most modern LTO drives are made by IBM. For Tandberg drives and older Quantum or HPE drives, please contact your reseller.

Update Notifications

Canister Preflight Checks will notify users of IBM and Quantum drives when a new LTO firmware is available. Firmware updates are advisory and can be skipped if required using the > in the bottom right hand corner of the window.

Updating IBM firmware

To update your IBM LTO drive's firmware, first you install IBM Tape Diagnostic Tool (aka. ITDT), then update the firmware.

Updating Quantum firmware

Most modern Quantum drives are actually IBM drives, so you can use the ITDT process described below to update your firmware.

Updating HPE firmware

Colloquially known as HP, your drive may be either a real HP drive or a rebranded IBM. Preflight Checks will show you the firmware version number which will hold the clue to being an IBM drive or not; if it's four characters long with the first one a letter, chances are it's an IBM. If not, call your reseller as obtaining firmware for older drives is a drag. If it's IBM, you can use continue to read along.

Installing ITDT

Use the steps below to install and run ITDT:

Updating the firmware

Next, the firmware itself:

1. Download the latest firmware for your drive.

• For IBM Half Height LTO firmware, Qualstar maintain a convenient list .

• For Quantum LTO firmware, use the list .

• Symply maintain an LTO firmware list for their customers , including Full Height models.

2. Move the downloaded firmware file into the input directory inside the directory containing ITDT.

3. ITDT should still be running from the installation steps above. Now enter the following commands to open the connection to your tape device, and upload the firmware:

• u, then [Enter]

• 1 (one, not el), then [Enter]

• If you have just one tape device, tape0 is your device name so just hit [Enter] four times.

• 71, then [Enter].

• If you properly copied the firmware into the input folder, you'll see a view like this listing your firmware file in slot 0:

• Select the firmware with 0 and an x will appear next to it.

• Continue with C , then [Enter] and wait until done.
• A successful upgrade will have a PASSED status:
• Hit [Enter] to return to the Tape Util menu.

4. When back in the Tape Util menu close the connection to the tape:

• Type 2, then [Enter] twice.

5. Now you can quit ITDT: q then [Enter]

6. You can safely close the Terminal app.

"Tape changed to read-only by LTFS"