Lightworks Mac Public Beta

[David Lawrence]

[Craig Seeman] “Available Wednesday June 11”

It went live today, downloading now. Come and get it! 🙂

https://www.lwks.com/

_______________________
David Lawrence
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[Bret Williams]

Snow Leopard wall paper. So 4-5 years? But I think they announced the begin of development in 11. They showed it at NAB ’13 in pre-alpha stage.

[Kevin Monahan]

That’s cool and all, but I think of the NLE as the center of a hub of applications I need to edit video with. Thinking this out, even if I wasn’t working for Adobe, I could not consider working with an NLE that does not have basic integration with other apps I need to get my work done (in my case AI, PS, AE, Au). I recall that integration with those apps was so very painful with Avid and FCP.

How are you going to get the job done in only the NLE? Or are you going to hope for eventual integration with other apps that do similar things? Not trolling, I am curious about this.

Kevin Monahan
Support Product Manager—DVA
Adobe After Effects
Adobe Premiere Pro
Adobe
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[Tony West]

[Lance Bachelder] “More Oscar and BAFTA winning shows than any NLE next to Avid.
“

I’m fascinated by this Lance. Are you surprised by the gap between folks that (I guess use this in LA for films) and the user base outside of LA?

I don’t know of one production house or editor in my town that uses Lightworks.

I don’t know that I had even heard of it until I started following this forum.
What do you think accounts for that user gap?

[Bret Williams]

Nothing amazing, just an area below the timeline that moved along with it, where you could throw clips, graphics, or audio bits that you might use. I used it kinda like auditions. This was a time when there was really only the equivalent of one video track and a title/grfx track. So there wasn’t any room for putting clips on another track. Very useful little “offline” storage area. It didn’t have to be key worded, logged, or put in a bin and sorted by date, etc. It was like a bin with no organization. In storyboard mode. Except it wasn’t thumbnails, it was little clip pieces just like in the timeline. Sure you could do the same with empty tracks or auditions or clips that aren’t enabled, but nothing was quite as simple, handy and visual. With all our organizational tools these days it might be redundant, but I still think it’d be handy.

EDIT: Here’s a horrible image. But it’s the area below the defined timeline at the bottom. Mostly behind the pop-up window.

[Bill Davis]

Hi Kevin!

Can’t speak for how anyone else works, but for me this Thursday will be typical. I fly to San Diego the night before. 8am call on a local golf course. We’re shooting product stuff for a putter maker. Two 5Ds and 2 GoPros in the morning. Art director on-set will do title design based on the shots he sees and hand me the specs. We may or may not use Motion to build the titles depending on his ideas. Mid-afternoon we’re at the manufacturers offices for 2 interviews. Ingest on set. Rough cut that evening w/ scopes based color matching between the indoor and outdoor stuff. I’m home on Friday and will likely have approval cuts uploaded before I get home.
The work will probably go live to the company web site mid week depending on Agency approval, but I’m confident that whatever they need, I can get it done on my laptop.

I understand that others like or need or just want to have half a dozen complex, dedicated toolsets at hand – but honestly nothing in this scenario requires more than X.

Know someone who teaches video editing in elementary school, high school or college? Tell them to check out http://www.StartEditingNow.com – video editing curriculum complete with licensed practice content.

[Lance Bachelder]

I only know of one team in LA that uses it – the guys that cut my old bosses movies Nutty Professor, Bruce Almighty etc. Every Scorcese movie has been cut with it. I know it’s still pretty popular in UK. I bought the Pro version last year to play around with but haven’t cut anything on it as I haven’t had time to really dig deep. Hard enough with all the FCPX hoopla, CC and Vegas updates but we’ll see…

Resolve seems to suit me better as it’s has a traditional source/record workflow plus tracks and audio mixer not to mention pretty good color timing features all rolled into a very sexy FCPX-like interface design. Stability is gonna be key but the feature set is the best I’ve ever seen in any NLE.

Lance Bachelder
Writer, Editor, Director
Downtown Long Beach, California
https://www.imdb.com/name/nm1680680/?ref_=fn_al_nm_1

[Lance Bachelder]

You just said that “no one” uses it. I think the graphic speaks for itself – I don’t cut with it and probably wouldn’t have anything worthy to be added if I did.

Lance Bachelder
Writer, Editor, Director
Downtown Long Beach, California
https://www.imdb.com/name/nm1680680/?ref_=fn_al_nm_1

[Andrew Kimery]

Hey Kevin,

There’s still a lot of work (well, a lot of movie/tv work) that’s done offline/online with compartmentalized workflows (editors edit, mixers do the audio, colorists color, etc.,) so having an integrated suite like CC isn’t advantageous because it’s not a tip to tail Adobe workflow. There’s still room for great, stand alone NLEs in the market.

[Lance Bachelder]

On shows with a budget shows like studio feature films integration is not important at all. Editors are hired for their talent to edit – that’s all – they don’t delve into Photoshop to fix something, they edit. If their system crashes they go on a break and wait for someone to fix it. Their big time union Editors making 5 to 15 grand a week to EDIT.

For the rest of us, who are used to doing everything ourselves and scrambling for every dollar, integration may be very important, but it’s never necessary.

Lance Bachelder
Writer, Editor, Director
Downtown Long Beach, California
https://www.imdb.com/name/nm1680680/?ref_=fn_al_nm_1