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Blueball .. greenball .. blueball insanity from a FCP perspective..
I have been editing on our Avid Express Pro 4.6.5 with Editshare for a couple of months now, and I am a bit confused.
We only work with DV, and edit in offline quality (greenball)
so.. correct me if I am wrong.. but I have to turn on the blue ball (online) to see the picture in full quality ? (we are still only talking about dv quality here.. )
So.. when I want to do color correction I want to do that in online, but then the computers gets REALLY SLOW and it’s a pain to move around in the timeline (AGAIN.. we are STILL talking about DV here.. )
First of all, I am suprised that I have to edit DV material in off line at all.. I mean.. DV is extremely small and tiny. In FCP there is no need to do that, you always edit in online quality, and working with color correction and editing is fast and responsive.
Second: How can one actually work with color correction when the response is so slow
Third: Working with rubberbands and waveforms make the timeline painfully slow.
Is it supposed to be like this ? Is something that works better with expensive avid systems ?
Anders
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7 Replies
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Do you have a Mojo? Are you working in full rez mode (green/green) or 1/4 rez (green/yellow)?
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In 4.6, the green dot / blue dot thing was for effects. It allowed (if I remember correctly) you to see some effects in realtime.
What are your system specs? Avid is very picky regarding what it’s run on. As I recall (I’m on version 5.2 now), there was no lag when color correcting. Mojo, if you don’t have, speeds things up considerably.
As far as rubberbanding, there is anothter way to adjust audio – add an edit (called ‘add edit’), adjust the audio track levels and dissolve between the two. How does FCP do it?
Jon
“So you want to throw out the old you – but the old you is old enough to know it won’t make it better”
Del Amitri – “Make it Better” -
Well.. I can see that your advice is to get hardware to make things work faster. I think that this should not be necessary when FCP give me all this without any extra hardware besides a cheap decklink card.
The green – blue ball thing is not just for effects. I can not see pictures in hight quality without pushing the blue button and then things get too slow to work with
okey.. At least now I know there is nothing wrong I do.
Anders
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Just upgrade to v.5.x so when a firewire deck is connected you can work in green dot mode, have full quality turned on and work in real-time.
That’s right, real-time firewire output at full quality…no rendering. I don’t believe FCP can do that. -
FCP does that by default. There is NO offline at all if only your drives are fast enough..
The avids will not be upgraded. This is a package I have gotten from a television channel.. and I can’t decide which version we have on our pc’s.
Well.. I guess I know what I will do with our next television production
Anders
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“There is NO offline at all if only your drives are fast enough.”
I’m sorry, but this shows you don’t know FCP very well…what do you call RT Extreme and why it’s used so heavily even if you’ve got 4Gb as your storage pipe? It’s not the storage that slows the system down it’s the software and the G5. To my knowledge all of the “real-time” you see in the FCP app is an OGL preview of some kind. This is why they can push so many streams internally, but when you setup an output device (3rd party card or firewire) your “real-time” transitions to not-so-real-time.
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Just tell me why I have to do greenball (offline) in avid in dv when doing pure simple editing with no effects whatsoever. I am not talking about effects here at all
Anders
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