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The Honda Ad Timeline
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[Oliver Peters] “This validates my point. If Avid released a hypothetical 7.0.4.1 update in order to be backwards compatible with some feature in 8.x, then you have benefited from that.”
No, what I am saying is that I want that R&D effort put towards 8.x and beyond, not backwards. Ultimately 8.x will benefit me and my purchase of 8.x will benefit Avid more. Avid’s (limited) backwards compatibility is nice, but when the company is updating software that is two versions back, it’s lacks good business sense.
Quite frankly, those type customers (holding old versions but wanting continuing (free) updates to those old versions) need to be forced to “pony-up” at some point or be left behind. Oh wait, that is what the subscription model will do! And I bet we will see subtle but definite changes to that “backward compatible” model from Avid going forward.
My main reason for “freezing” my Avid version is that there is no Avid work to be found in my region. There are no Avid suites to four-wall. Of course, we’re no LA….! As one contributor on the Avid-L called us; “the little guys”! 🙂
sw
Scott Witthaus
Senior Editor/Post Production Supervisor
1708 Inc./Editorial
Professor, VCU Brandcenter -
[Scott Witthaus] “No, what I am saying is that I want that R&D effort put towards 8.x and beyond, not backwards. “
Actually I don’t believe it’s as big of a drain as you think, because of the modular nature of the code. The real hold-back is just how much can you change the features and UI without alienating the customers.
[Scott Witthaus] “Quite frankly, those type customers (holding old versions but wanting continuing (free) updates to those old versions) need to be forced to “pony-up” at some point or be left behind.”
That’s exactly what the new pricing models do; however, more so in the case of Avid than other NLEs, you have a lot of customers in mid-production who won’t upgrade. The other issue is hardware. As they move forward, Avid hardware like Mojo DX and Nitris DX will be obsolete. Customers who bought that will still want to get mileage out of it while they can.
[Scott Witthaus] “My main reason for “freezing” my Avid version is that there is no Avid work to be found in my region. There are no Avid suites to four-wall.”
Sure. That’s a logical business decision.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
[James Ewart] “Just thinking whether he might have made use of Auditions and replaced all the shots in the Timeline by changing the selection?
Maybe not as fast for replacing edited sequences I suppose but perhaps simpler?
Or am I missing something?”
Hi James,
I think you are missing something. I Can’t see how auditions would have helped here. The point of the Compound Clip workflow is that you change the low res to high res at the browser level, and this change ripples through all instances in all sequences, and in the browser.
Auditions are good for switching between different takes/options in the timeline. you have all the high res in, there’s no need to ever switch back.
[James Ewart] “Why did they have to use Compressor to create the Proxy files rather than letting FCPX do the work?”
When Final Cut makes it’s in-app proxies, they’re half the frame size of the originals. So if you’re working with HD they become 960×540. With already poor looking playback footage, this was a little too small, it just lost too much res.
I’ve used it with good quality HD footage before and it looked good, and with 4k it’s great!
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[Thomas Carter] “quickly to address the visuals, I did this to divide the day and the night of the interactive story. With one quick lasso I could enable, or disable either side of the edit, while I worked on the other.”
Was there a reason you decided not to do this with roles/subroles for night and day?
(Thanks for coming back BTW!)
Simon Ubsdell
tokyo-uk.com -
[Simon Ubsdell] “Was there a reason you decided not to do this with roles/subroles for night and day?”
I did consider this. But there are a few reasons I decided not to.
Firstly, I was using roles to show if my footage was ‘film’ or ‘playback’ so I would have lost this functionality. Secondly I wanted my audio to be Effects, Music and Dialogue for when I sent to the sound mix, again, I would have lost this too. Last but not least, I remapped the ‘disable/enable’ to the R key, so the clients could all play live in the edit. Clicking a role on and off wouldn’t have been the same.
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Great, thanks for the explanation. Makes perfect sense.
Great job – and I really loved the music video as well. Outstanding stuff!!!!
Simon Ubsdell
tokyo-uk.com -
Yes really nicely cut I really enjoy the experience of toggling between the two. Don’t even try and explain how it actually works I would never understand. But it’s great work all round. Beautifully shot too.
I can see the advantage of using the CCs as you did not have the high rez available.
The fact that one can create auditions in the browser had me thinking though … I have never had cause to create and Audition in the browser myself and thought for a minute it could have worked if you had both available.
Anybody here use Auditions in the Browser?
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