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Thoughts from the departed?
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[Chris Harlan] “Things I’d like to see: More flexible Sends, Plugin implementation at track level, Plugin implementation on the mixer,”
Plugins can be added on track level in the mixer. In the upper part of each strip you can add about 20, I think. The plugins area may still have a drop down switch on the left side of the mixer. (Mine are always dropped down). Adobe has licensed a basic set of VSTs. Third party 64 bit VSTs that work with Pr are hard to find but those that work, work well. I’ve mixed whole documentaries completely within Pr CS5+.
@David Lawrence. Audition is not yet dynamic linked. You can render a timeline clip and send it to Audition and If you save it in Audition it’s updated in Premiere.
David
AllinOneFilms.com -
[David Cherniack] “In the upper part of each strip you can add about 20, I think. The plugins area may still have a drop down switch on the left side of the mixer. “
Found them! That’s fantastic. Thank you! It would have taken me a long while to bump into that toggle button. I just kept clicking in the area you’d click in my various DAWS, and saying to myself, “dang, there should be sends and plug-ins here. Oh, well.” Again, thanks!
[David Cherniack] ” Third party 64 bit VSTs that work with Pr are hard to find but those that work, work well”
I would guess. Of the few VST I have, none are showing up.
Two quick questions: A) do you know if I can keyframe a plug-in that I drop in on the mixer? B) Is there any way I’m missing to change the channel output of a track to multichannel from stereo once the track is created?
Thanks again!
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what about the fact that it is slow , does not display layers in real time and does not do background rendering??I think Avid is a bust.
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[jason carey] “what about the fact that it is slow “
Slow? I don’t know what you are using it on or using with it, but even on my Macbook Pro, it does a really fine, responsive job of cutting both DNxHD and ProResHQ. “Slow” never enters my mind.
[jason carey] “does not display layers in real time”
I’m not sure what you mean by this. Multiple, overlapping layers? You certainly can–not as well as some other packages–but I wouldn’t choose it as my main compositor, anyway. I’d use FCP 7 or Pr6 as a compositor over MC, no question.
[jason carey] “and does not do background rendering”
In general, I hate background rendering.
[jason carey] “I think Avid is a bust.”
That’s your business. And if my criteria for choosing an NLE were based on your above complaints, I wouldn’t choose it either. In terms of actual cutting, I think it has the best tool set out there, though I’m impressed with what Adobe has done with MC 6, and plan to use that side by side with MC6 into the future.
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[Chris Harlan] ” A) do you know if I can keyframe a plug-in that I drop in on the mixer?”
Not on the track level as far as I know. Plugins can certainly be keyframed on the clip level if their parameters are exposed (most are).
[Chris Harlan] ” B) Is there any way I’m missing to change the channel output of a track to multichannel from stereo once the track is created?”
When you create the timeline creat a master multitrack (up to 16). Then your stereo tracks can be assigned in pairs to your output.
David
AllinOneFilms.com -
[David Cherniack] “[Chris Harlan] ” A) do you know if I can keyframe a plug-in that I drop in on the mixer?”
Not on the track level as far as I know. Plugins can certainly be keyframed on the clip level if their parameters are exposed (most are).
“Pity. But still–what a robust audio tool for an NLE!
[David Cherniack] “[Chris Harlan] ” B) Is there any way I’m missing to change the channel output of a track to multichannel from stereo once the track is created?”
When you create the timeline creat a master multitrack (up to 16). Then your stereo tracks can be assigned in pairs to your output.
“Yes, I learned this the hard way, though of course it was only cut and paste to fix once I figured it out. If I assign 6 channels out, is there any way to get rid of those 6 channels in that show up on the clips? I know that they are harmless, but they are distracting and take up real estate?
Thanks again for your pointers!
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Yeah, not sure what your benchmark for “Slow” is, but it doesn’t equate with my experience at all. I cut features and television all day every day, and have never felt Avid to be slow in any respect, compared to all the other packages I’ve used. Especially compared to FCPL, which was always WAY clunky to me.
I’ve been using PP CS6 and it is FAST, that I will grant you. Unfortunately for doing feature film work, it still lacks the feature set I need. No way to match back to audio timecode, only rudimentary bin sorting (while in icon view), lack of AAF export for merged clips. A few other niggly little things. But I’m overall VERY impressed with PP CS6 and could see myself seriously using it in the future. I didn’t even mind having to render outputs, because I could easily send the sequence to Media Encoder and render in the background while continuing to work.
And regarding “layers,” I’m not sure what you’re referring to. I play multiple layers in realtime all day every day.
To each their own, I guess. For my money, Avid is still the fastest, most feature rich and capable editor out there.
Chris Conlee
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Yeah, 100% in agreement about the audio needing an overhaul. Why have RTAS plugins at all if they aren’t keyframeable? How often do you want the same ‘verb or EQ on an entire track? It is useful for applying some basic compression, but that’s about it. And more tracks is a must, in this day and age.
Chris
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[Chris Harlan] “is there any way to get rid of those 6 channels in that show up on the clips? I know that they are harmless, but they are distracting and take up real estate?”
I’m afraid that I can’t completely grasp what you’re referring to. You shouldn’t have 6 channels per clip in the timeline unless you’ve brought your audio in as 5.1.
David
AllinOneFilms.com -
[David Cherniack] “I’m afraid that I can’t completely grasp what you’re referring to. You shouldn’t have 6 channels per clip in the timeline unless you’ve brought your audio in as 5.1.
“To do my audio splits, I set up a multichannel timeline with all tracks set to Adaptive. In this case, I needed six–four mono and 1 stereo–so it is just a coincidence that it has the same number as 5.1. Whatever I set the number of output channels to, the adaptive tracks match with “input channels.” These input channels show up in the individual clips represented by dashed lines. I may be doing something wrong, but I haven’t found out what yet.
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