Can I trade in my Kona ? (the end is near !)

[Walter Biscardi]

[CharlieX2] “Or are the always doomed to this hybrid pro-sumer sort of thing?”

I definitely would not call FCP hybrid pro-sumer. We’ve delivered over 50 broadcast high definition masters to date and you can’t do that with a ‘pro-sumer’ product. In many regards, FCP is a much stronger app than anything else out there, especially in terms of versatility.

It may have flaws, but there’s I would never call it pro-sumer.

Walter Biscardi, Jr.
https://www.biscardicreative.com
HD Editorial & Animation for Food Network’s “Good Eats”
HD Editorial for “Assignment Earth”

“I reject your reality and substitute my own!” – Adam Savage, Mythbusters

[Aaron Neitz]

sorry guys, I don’t mean to ruffle anyone’s feathers… pro-sumer isn’t the word… it’s saturday, i’m hungover stuck in the studio, it’s a gorgeous day outside, and i’m grumpy 🙂

I mean, we’ve been using FCP since version 3 for national run commercials – heck, I just conformed an entire feature in HD on this box with a 5.1 mix and the whole lot and it performed beautifully. We’ve paid our penance convincing clients that “no, FCP is better than AVID. Really, trust us!” It just seems that there are core problems that have haunted FCP since the old days that need to be overhauled and in some cases removed. Ya know?

[Walter Biscardi]

[CharlieX2] “We’ve paid our penance convincing clients that “no, FCP is better than AVID. Really, trust us!””

Ah, see that’s something I never try to do. I really don’t believe one is better than the other anymore, they’re just different tools for different workflows. Hell Premiere is a pretty good tool now that they’ve really revised the interface and I applaud Adobe’s decision to bring the production suite back to the Mac.

All I tell my clients is that I’m delivering high definition broadcast shows through my system and that’s pretty much all they need to know. As for FCP being “better” than Avid, that’s for folks to argue here on the Cow.

Walter Biscardi, Jr.
https://www.biscardicreative.com
HD Editorial & Animation for Food Network’s “Good Eats”
HD Editorial for “Assignment Earth”

“I reject your reality and substitute my own!” – Adam Savage, Mythbusters

[Bob Zelin]

With Steve Bayes (the product designer of the Media Composer interface up until 2 years ago) now being the product manager of Final Cut Pro, it will be pretty interesting to see what FCP 6 is. How can there be blind loyalty, when the very employees of AVID are now working on FCP product design. If you work for company X, and you are the star at company X, and you leave company X to go to a new company, or start your own company, will company X always be better than you are ?

The mindset of “Final Cut Pro sucks, it will never be an AVID”, is the same mindset of film editors that
said “it’s never going to be like a Kem or a Steenbeck”. Don’t worry, starting with this NAB, you will see tons of established 35mm film DP’s saying “4K sucks, Red sucks, Panavision Genesis sucks – it will never be like film”. And who can forget “real editors only use CMX”.

Bob Zelin

[Walter Biscardi]

[Bob Zelin] “And who can forget “real editors only use CMX”.”

Wooooo and give me the Grass Valley 300 with an Abekas A53-D. Yeah Baby!

Walter Biscardi, Jr.
https://www.biscardicreative.com
HD Editorial & Animation for Food Network’s “Good Eats”
HD Editorial for “Assignment Earth”

“I reject your reality and substitute my own!” – Adam Savage, Mythbusters

[Tom Daigon]

Dont forget the Ampex ADO ….the Chyron….Abekas A72 CG….Ampex 1″ machines…. CMX 340-3600…

[Joe Murray]

Hey CharlieX2, I get where you’re coming from. I’d never say that either Final Cut or Avid is better than the other overall, but there are some key “pro” features that Apple has never really fixed. Like the source in-point sort feature in EDL export (never has worked). Like all the problems with renders in 10 bit sequences over the years. And like all the features that got screwed up with the 5.1.3 release (had third party vendors had access to the software these problems most likely would have been caught before release). I agree with you that there are some important fixes that need to be made to FCP and I hope they are addressed with version 6.

Joe Murray

[Scott Thomas]

I had a GVG-300 with a Kaleidoscope, so Pfffftttttttt. 🙂

I actually used an Abekas A53D with Warp on a GVG-200. It was no Kaleidoscope, but still very cool. 🙂

[Ron Thompson]

That’s funny Walter…. most clients don’t know the difference!
I’ve had producers sit in the edit room and call my Final Cut an Avid.
“Sure, its an Avid….whats the next shot?”

As long as they get what they want and pay the bill, they can call it whatever they want.

Ron

[Bob Zelin]

My #1 complain with the current AVID Adrenaline HD product in a professional enviornment is that it cannot output embedded SDI audio. With modern HD-SDI products from Sony and Panasonic all supporting embedded audio, it is beyond me that AVID, who is totally oriented their product line towards the broadcast industry, can digitize with embedded audio, but cannot output to a HD VTR (like a AJ-HD1400, or Sony SRW-5500) with embedded audio. So PLEASE don’t tell me that AVID is really the “professional” product. Modern professional TV stations, that use HD-SDI routers, ain’t running a seperate AES/EBU router frame on new installations.

By the way, I always use the AJA HD10AM audio embedder with every AVID Adrenaline HD system I install now, to get rid of this problem.

Bob Zelin