Andrew Kimery
Forum Replies Created
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[Scott Witthaus] “I would say that Adobe CC is a bigger threat to Avid than FCP7 or an FCP8 could have been.”
I agree with everything you said Scott except for this. If Apple released FCP8 (retooled with new features such as 64-bit, GPU acceleration, redone multicam, background processing, etc., basically X but with a familiar GUI) then I doubt anyone gives PPro the time of day and Avid’s market share keeps getting eroded. Both Adobe and Avid were doing a lot to improve their respective NLEs between 2006 and 2011, but Apple killing 7 and releasing X created a much needed opening for the competition.
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No NAB for me this year unfortunately.
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[Dom Silverio] “All AE time.”
Depending on the task though AE time can certainly impact editor time. How quickly can dailies be prepped for the editor? How quickly can an AE build a string out for the editor? Find a certain shot? Do some some temp sound design or temp VFX? The longer it takes the AE the longer the editor has to wait. Even for tasks not directly for the editor (such as sending shots to the VFX house) can still impact editor time if the editor has to wait for those tasks to be done before the editor can get help from the AE.
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Tim,
I agree with what you are saying about narrative and video games. Video games also have the advantage of being, well, a game which can allow the game creators to indirectly direct the action via things like game objectives and play mechanics. VR for gaming I can see taking off because it puts the player ‘in’ the game like never before and more and more gaming is done as a solo experience (even if you are playing on line). The old days of 3-4 friends all getting together and gaming side by side have dwindled mightily with the rise of Interent gaming.
Speaking of 360 degree filmmaking putting the viewer in the middle of a foreign places, below are two travel shows that I think would be awesome from a 360 perspective. The first is a show that puts the viewer in a first person perspective walking tour of cities around the world, and the second is all areal photography of States in America (one State per episode) with a narrator telling the history of the State.
Somewhere Street
https://www3.nhk.or.jp/nhkworld/en/tv/somewhere/Aerial America
https://www.smithsonianchannel.com/shows/aerial-america/701 -
[Herb Sevush] ” Most of the time (95%) I’m using a single mixed track and I don’t want to clutter up my timeline with audio elements that I rarely use, “
I adjust the targeting so nothing is populating my timeline, but it’s making extra empty tracks.
[Andy Neil] “I’m not sure we’re talking about the same thing, but I’ve noticed that when Premiere loads a source with more tracks than the sequence, there’ll be a little plus sign on the last visible track. you have to click on that to expose all the source tracks and from there you can deselect to prevent Premiere from making new tracks in your sequence.
“On my machine when I hit the plus sign to expose all the source tracks it creates an equal amount of empty tracks on my timeline. Maybe there is preference you have set that I don’t?
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Adobe is still being skimpy on the search parameters which is unfortunate (and is a feature request I have put in). PPro supports a lot of different types of metadata and it would be much more useful if the search feature wasn’t so constrained.
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[Neil Goodman] “There are now searchable bins in Avid, as well as the timeline and project window.
If you amend your clips with a keyword at the end – it functions similiar to FCPX in that it will filter out unwanted media.
Def not the same or as elegant as FCPX but doable and a workable solution.”
Wasn’t it in 7 or 8 that Avid really started beefing up the search tool? I was working on a doc a year or so back in 8 and by the end I spent more time in the search tool than in my bins. Do you know, can you save the search results to a bin? Being able to search globally in Markers was very helpful at the time and I wish PPro had similar functionality.
What I don’t think Avid can do is have bins auto-update with media the way X or PPro can have folders auto-update with media because of how bins in Avid behave.
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Thanks for the detailed explanation, Herb. Ever think about convincing Adobe to let you write the PPro manual? 😉
FWIW I deal with a lot of second system sound (usually 2 cameras plus 3-5 channels of second system sound) and I use the All Camera option. I can open up the multiclip in the timeline and tinker with the audio layout to my hearts content and all is fine. In the multiclip I’ll rearrange the audio layout so the mics I want on on top (A1-Lav 1, A2-Lav 2, A3-Boom, etc.,) and then I’ll mute the rest. Once the multclip is in the source monitor I’ll only activate the tracks I want (in this case A1-A3) and PPro typically remembers that so I only have to do it once. The only annoying thing is PPro automatically adds audio and video tracks based on all the available A/V tracks coming from the source monitor even if most of those tracks aren’t activated. So if I load a clip with 8 audio channels into the source monitor, but only have A1-A3 activated, PPro will automatically create 8 audio tracks in my timeline (assuming it has less than 8 to start with). even though I only have 3 activated.
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[Oliver Peters] “However, just like with Resolve, FCPX had this before Premiere added theirs.”
But both Resolve and PPro are capable of doing it, which goes back to Michael’s point of questioning the ‘inherently better’ database in one NLE vs another. It’s not that other NLEs are incapable* of Keyword/Smart Collections-type functionality, it’s just that they hadn’t implemented that feature until recently. Maybe it just wasn’t the best example to try to illustrate the differences?
*Avid might be incapable of it because of how bins in Avid function differently than bins/folders in other NLEs.
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I don’t know if it’s new or not but Kollaborate has a panel too.
https://www.kollaborate.tv/resources