Lightworks Mac Public Beta

[Herb Sevush]

[Kevin Monahan] “I could not consider working with an NLE that does not have basic integration with other apps I need to get my work done”

It’s also very limited in third party plug-ins. As much as I want this to succeed, LW is not for me, it’s meant for an off-line, on-line feature film workflow, at least for now.

Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf

[Mitch Ives]

[Jeremy Garchow] “David, will you please make this your signature once and for all?”

Only if I get to write yours and Bill’s… 😉

Mitch Ives
Insight Productions Corp.

“Criticism may not be agreeable, but it is necessary. It fulfills the same function as pain in the human body. It calls attention to an unhealthy state of things.” – Winston Churchill

[David Lawrence]

[Herb Sevush] “It’s also very limited in third party plug-ins. As much as I want this to succeed, LW is not for me, it’s meant for an off-line, on-line feature film workflow, at least for now.”

Yep, me neither. It’s got a long way to go and seems geared to a very specific workflow model that doesn’t apply to me. Let’s see what Resolve 11 brings to the table.

_______________________
David Lawrence
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[Mitch Ives]

[Charlie Austin] “I think a lot of folks may use it, but I also think that, despite some really great features, it’s gonna take a while to mature into something that works as seamlessly as any of the “major” NLE’s. Looking forward to playing with Lightworks though. :-)”

Sounds familiar… where have I heard this before… oh yeah, thats what they said about X for the first two years…

Mitch Ives
Insight Productions Corp.

“Criticism may not be agreeable, but it is necessary. It fulfills the same function as pain in the human body. It calls attention to an unhealthy state of things.” – Winston Churchill

[Charlie Austin]

[Mitch Ives] “Sounds familiar… where have I heard this before… oh yeah, thats what they said about X for the first two years…”

Hey, I’m not knocking it or saying it’s unsuitable for “professionals”, which is what was, and sometimes still is, said about X. I like how it looks, and it seems to work well. Though the hardware requirements are steeper than say, X, Pr or MC at this point. R11 is gonna be an awesome online/finishing tool, and I think that’s probably their plan. I doubt anyone will be cutting on-set on a laptop with it for a while.

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~ My FCPX Babbling blog ~
~”It is a poor craftsman who blames his tools.”~
~”The function you just attempted is not yet implemented”~

[Kevin Monahan]

Hi Andrew,
And thanks to all that thoughtfully addressed my post.

[Andrew Kimery] “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.”

I see. So it seems that integration matters less to those at the very high end (as in LA/NYC TV-Film workflows) as you and Lance describe, and for some at the lower end/run-gun level as Bill Davis tells us.

Thanks!
Kevin

Kevin Monahan
Support Product Manager—DVA
Adobe After Effects
Adobe Premiere Pro
Adobe
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[Andrew Kimery]

[Kevin Monahan] “I see. So it seems that integration matters less to those at the very high end (as in LA/NYC TV-Film workflows) as you and Lance describe, and for some at the lower end/run-gun level as Bill Davis tells us. “

Speaking in very general terms, yes. But for things that require faster turn around time (which it sounded like Bill’s example did) then integration can become more important even if the budget is bigger simply because you don’t have time to go between a bunch of different, specialized programs.

For example, back in the day I used to do color correction inside of FCP itself and I was satisfied with it (and spending 10’s of thousands of dollars on a grading system wasn’t an option). Then Apple released Apple Color and I was like “Holy cow this is amazing! I’m never coloring in FCP again.” For the work I did Color was so much better than FCP (or any FCP plugin) that it wasn’t even funny, but occasionally I’d be in a deadline situation where the roundtrip to Color wasn’t a viable workflow option so I ended up coloring in FCP. So even though Color was hands down the superior coloring program it wasn’t always the best tool for the job.

It’s kinda like that old photography saying, the best camera is the one you have with you.

[Jok Daniel]

[Herb Sevush] “As much as I want this to succeed, LW is not for me, it’s meant for an off-line, on-line feature film workflow, at least for now.”

True, but it’s also one of the best available tools for such a workflow. Maybe even the best. Which is why so many well-known feature films were cut on it.

[Gary Huff]

[Lance Bachelder] “You just said that “no one” uses it.”

I was totally being hyperbolic, but the underlying meaning was that “no one here” uses it.

Besides, film editing is pure editing, not like elsewhere. All they do is edit the picture, and then it gets handed off for color, sound, ect. That’s not really the case outside of the system.

This talk just smacks of the “this is the year of Linux on the desktop” in computing circles, which is an annual claim.

[Herb Sevush]

[Jok Daniel] “True, but it’s also one of the best available tools for such a workflow. Maybe even the best.”

No argument from me on that, I just wish they had some kind of plug-in architecture and some way to round trip from AE, Resolve, etc. I think they have some integration with Boris Red, which actually meets a lot of my needs, but I’ve heard it’s pretty buggy. I would like to take advantage of it’s editing tools, but without some GFX, EFX tools it just won’t work for me, but then again I’m not cutting features.

Herb Sevush
Zebra Productions
—————————
nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf