Quoi faire?

[Misha Aranyshev]

[Michael Brassert] “Has 10.0.3 made it viable moving forward?”

An incremental update can’t fix a fundamentally flawed concept.

[Michael Brassert]

Of everything out there Lightworks intrigues me the most. Although I am not that familiar with it I like the philosophy of basic editing with less keystrokes. If it can handle the various codecs, have a good titler and plugin support, not to mention stability I am there. I don’t know why but have a good feeling in my gut about Lightworks.

[Michael Brassert]

You know what’s funny? No one is bashing Avid or Premiere Pro.

[Shane Ross]

Tracks are VERY important to me. People say “Oh, Roles solves that!” But that doesn’t solve my internal way of organizing what goes where audio wise. BEing able to tell, by looking, what track is SFX and what is MUSIC. The magnetic Timeline is a complete mess IMHO. Tracking with metadata does nothing for me there. I need to see what is where. It REALLY helps me mix, and if some odd SFX or SOT is scattered somewhere…pain.

Some people love the Magnetic Timeline and only gush. To me it is a pain, a HUGE step backwards, and a jumbled awkward mess.

Shane
Little Frog Post
Read my blog, Little Frog in High Def

[Shane Ross]

It’s like grabbing an audio clip, slapping a colored ribbon on it (You have THIS Role)…and just throwing it into the pool. Grabbing another audio clip, slap another Role to it, throw it in the pool You then have a pool of clips with different colors and there is a filter that will separate them in the end…but that doesn’t help me at all when I need to mix all the music lower, or the SFX higher…I need to look for it.

(Yes, I am using an analogy…maybe a poor one. So shoot me…)

Shane
Little Frog Post
Read my blog, Little Frog in High Def

[Neil Goodman]

i pop up in here, just like Shane, to see what and if people are doing with it. I havent seen anything really that was advertised as being cut with X other then some web videos. There were slickly cut, well produced, etc, but im more interested in tv/film workflow’s than with montages and music videos.

that said, i do hope it matures into something great. I have 10.03 0n my system and poke at it every once in a while but until i see the pro markets out here shift in that direction, im not gonna dive in to deep. Ever since the Media Composer 6.01 update, i really havent wanted or felt the need to use anything else. Even doing basic AE stuff into Avid FX because it works good.

Neil Goodman: Editor of New Media Production – NBC/Universal

[Tony West]

I went on Youtube and looked at some Lightworks demos.

Man, talk about a learning curve.

It didn’t look like anything I have worked with before.

I looked at how it did titles…………..hummmmmm

[Lance Bachelder]

I agree Shane – love tracks. One of the things I love about Vegas Pro is the ability to assign Dialog, FX and Music to their own busses to quickly turn them off and on and for exporting stems. Even better is container tracks – meaning you can have say 20 FX tracks in a twirl down container much like Nuendo and now Pro Tools 10 – never understood why more NLE’s don’t have these features?

Lance Bachelder
Writer, Editor, Director
Irvine, California

[Renato Sanjuán]

I remember doing my first paid jobs on a Lightworks back in the days when I was a youngster and I was just out of film school.
It died off a few months after that.

Not the sexiest GUI on the planet and effects were very limited, but editing was a pleasure. Excellent media management and a trim function that was every bit as good as Avid’s. I use trim a lot so that’s a big thing for me. It was very easy to use once you got used to it. I don’t remember any problems switching from Avid to Lightworks.

I read effects are very much improved but I haven’t tinkered with it yet.

I also recall some very modern traits such as instant saves of every command, rock solid stability and the ability to use search filters to make “temporary bins” that you could trash once you’d edited with them. Meaning you would organize your footage into bins and the bins into “racks”, just like you would do on any other nle, but you could also search based on criteria and make “temporary bins” that were trashed when you closed them (unless you specifically wanted to keep them). It was a cool way of finding footage and working with it without ending up with a ton of bins cluttering your project.

Edls and cut lists were very powerful and nicely implemented, so if they’ve built on that I would guess it’s probably very optimized for collaborative workflows.

I’m happy Lightworks is alive again. I really hope it takes off.
If it delivers the features they advertise on the Lightworks website it should be ready for even the most elaborate workflows. They are building on what was already very stable and excellently designed software over 15 years ago, so there’s reasons to be hopeful.

All in all, if you can wait I’d say it’s definitely worth a look. Mac version was due at the end of November 2011, so hopefully it will be out soon.

[Tony West]

[Renato Sanjuán] “Not the sexiest GUI on the planet”

You can say that again. That’s the first thing I noticed about the new one.

It’s got some cool 3D features though.

In jumping around checking out the different NLE’s, they all have some features I like and some I don’t like.

I’m glad lightworks is out there also.

With all these choices seems most editors will find the one that’s right for their own specific needs.