Andrew Kimery
Forum Replies Created
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[Scott Witthaus] “Man, it’s going to take a lot more than that to force me to Premiere!”
What about breakfast in bed and a gift basket on your birthday?
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[Jimmy Holcomb] “Want to cancel your monthly Adobe subscription? Watch out for whopping cancellation fee.
https://www.loopinsight.com/2016/02/18/want-to-cancel-your-monthly-adobe-sub...
“1. It’s an annual subscription, not monthly.
2. It’s common for any subscription service to have a cancellation fee. In Adobe’s case, if you cancel w/in 14 days of signing up there is no fee. If you cancel after 14 days the fee is 50% of your remaining obligation to Adobe.
Link to Adobe’s ToS.
https://www.adobe.com/misc/subscription_terms.html3. If you clicked through to the actual Twitter account (as opposed to just short blog post w/a screen shot of the Twitter account) you’d see that the person’s annual subscription had recently been renewed (hence the $60 fee which is 50% of the remaining obligation) and when the subscriber contacted customer support Adobe waived the cancelation fee.
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[Oliver Peters] “Agreed. A versatile conform engine.”
FCP Legend certainly gave you enough rope to hang yourself with but if you knew what you were doing the amount of flexibility and options it offered was amazing.
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[Michael Hancock] ” Was this editor used to working with assistants that handled this type of stuff and didn’t have them on this job? 10 years of editing doesn’t mean he’s well versed on the technical stuff, especially if he’s more of a story editor.”
I was going to ask the same question. 10yrs of editing doesn’t prepare you to fix technical problems if you are used to having AEs do all the tech stuff so you can focus on editing. It’s like going out in the morning and your car not starting. Just because you’ve been a licensed driver for 20 or 30yrs doesn’t mean you have the skill set to trouble shoot and fix the problem.
The TC syncing situation being discussed is pretty much syncing 101 for any AE out there (especially those working in the unscripted world) and should’ve have turned into a problem at all.
With that being said, syncing by waveform (when it works) is fantastic and I’m glad Avid finally added that feature in the new version of MC.
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[Oliver Peters] “The trouble with syncing by waveforms is that a lot of cameras record audio with an offset and are natively out of sync. Especially DSLRs. A clapstick is still the most accurate, with common timecode coming in second.”
Isn’t syncing via a clapstick still susceptible to offset as well? PPro can account for the offset (don’t know about X). Even if the cameras don’t all have the same offset it’s simple enough to nudge a frame here or there since the offset on each camera should be consistent.
Like Tony w/X, I’ve found the syncing by waveforms in PPro to be a huge boon to my workflow. Doing mainly doc/unscripted work these days I rarely have a slate and keeping TC in sync is hit or miss depending on the crew (and that’s assuming all the cameras can take TC). Many times I’ll select an entire day’s shoot (in excess of 100 clips) and let PPro do it’s thing. There’s some clean up to do but it’s still way faster than doing it by hand in Avid or FCP Legend (which I’ve a lot of as well).
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[Tony West] “Especially if 2 of those 5 cameras were Gopros with no TC. Or the other 3 were off by just a few frames
(off is off : )”But there’s always that one GoPro that’s positioned in such away that it doesn’t get usable audio and we’re left trying to find an obvious visual landmark like a camera flash or car door slamming… production never runs out of new ways to make life harder in post. 😉
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[Bill Davis] “1. Nothing wrong with classic approaches – in their place. But it still don’t want my barber doing my surgery.”
I dunno, if he’s steady with a straight razor I’m sure he’s steady with a scalpel. 😉
[Bill Davis] ” You can keep spinning that the X glass is always half empty – but what’s still IN the glass remains singularly refreshing! Also half a glass allows for more to come – so there’s that. ”
I’m less of a glass half empty/full type of guy and more of a hope for the best, but plan for the worst type of guy. It’s a glass, it has water it in, hopefully it has enough but if it doesn’t I’ll have a plan for needing less water than anticipated and another plan for getting more water than we currently have. Speaking of water, you should see me plan for backcountry day hikes (I basically assume someone is going to be injured and alone in the backcountry for 8-12hrs w/o cell service, and possibly into the night, while their buddy hikes back to civilization for bring back help and I pack accordingly).
But I digress…
X is what it is, my workflows are what they are and when I think the two are compatible I’ll put them together. My basic outlook on the situation hasn’t changed from the day X launched. When I think it will meet my needs I’ll use it. Feature-wise it’s there for some projects, but another one of my needs is the ability to pay my rent and there aren’t many gigs in my corner of the world looking for people to cut with X. It’s Avid and a quickly growing amount of PPro. If X was a prime mover in my neck of the woods of course I would’ve learned it by now.
A couple of years ago I was getting ready to use X on a feature doc I was doing as a side project but life happened and I ended up using PPro instead. Now that I have a couple of years of PPro under my belt I probably going to use my next side project as an opportunity to learn X (assuming I don’t inherent a project started in another NLE).
[Bill Davis] “As to your last point, someone smarter than me suggested it’s a bad strategy to make perfect the enemy of the good.
“I’m always up for a good plan today instead of a perfect plan tomorrow, but my last point wasn’t about good vs perfect it was about using the best tool you have available.
[Bill Davis] “Can’t find ANYTHING to argue with in your post.
Please stop that.”
Yeah, I think Herb said it best.
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You can use the Media Browser in PPro to go into any other PPro project and copy out what you want (media, folders, sequences, etc.,).
For example, you and Bob are working together and you each have your own project. If you make the multicam sequences in your project all Bob has to do is open his project, go to the Media Browser, navigate to the multicam sequences in your project and import them into his project. If and you and Bob are sharing the same media then just the multicam sequences will be imported. If the multicam sequences contain media that Bob does not have in his project then that media will be imported into Bob’s project as well.
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[Bill Davis] “Jeez. Only in a debate about NLE design would Having interface OPTIONS cause so many people to get their panties in such a giant wad of Agrievement “
That seems like an oddly worded statement. Wouldn’t a debate about NLE design be an appropriate place to talk about things like UI options? I know there was supposed to be an exasperated insult in there somewhere but I’m just not seeing it.
[Bill Davis] “You don’t like the number of gears Apple gives you – drive something else. It’s simple”
Weren’t you just pointing out the quote in Mitch Ives’ signature telling everyone how great and useful is to debate conflicting ideas?
[Bill Davis] ” it’s giving ME the option to change my focus from things (like shifting) that computers are better suited to do – toward things like asset management that nobody BUT me knows how to leverage for my working style. The result of that decision, strange at first – now actually helps me work faster and smarter. “
I don’t see how having the option to make a custom UI setting disallows the option of using the default settings. It’s kinda like keyboard settings no? One is free to leave them all default if one wants, but there is the option of customizing the keyboard settings should one choose to do so.
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[Tony West] “The thing is, “everybody” that edits for a living does multicam work from time to time. It wasn’t anything unique and it wasn’t something that you couldn’t do in X”
The thing is for me it wasn’t multicam from time to time though. It was multicam on nearly a daily basis. It was color grading for broadcast in the NLE or round tripping to Color on a nearly daily basis. It was laying off 30min shows to tape on at least a weekly basis (many times within hours of the east coast airtime). Look, I know you and Bill are used to dealing with annoying naysayers that like to stick their fingers in their ears and go “nah! nah! nah! nah! nah!” but I’m not that type of person, and you’ve got to believe me when I say I know my workflows better than you know my workflows (and X was just not a good fit for my workflow at that time).
Like I said before, there were new things that I liked in X, and would have improved our workflow, but in the early days it was missing too many features that were mission critical for us. The scales were not balanced out by the new features it had. I’ll be super, exceedingly generous and say in the best of best case scenarios it would have been a wash. So why would we invest the time and money to R&D new workflow and retrain two dozen editors and producers on those new workflows if the best we are going to get is a wash?
Just to finish the story out, at this particular company (which was almost all FCP 7 though they did have a dwindling number of old-ish Avids) as soon as X launched they started researching Avid and PPro. X just had too many question marks around it and they needed to make a move sooner rather than later because FCP 7 was really showing its age for them. They eventually went with PPro. If X had launched with the features it ‘got back’ over the next 18 months or so it would have been in the running.
[Tony West] “I would just go along and blade the clips hitting ‘v” and blading it was fast and simple. I would fine tune with the trim tool. Many of us did it.”
This sounds similar to the less than stellar workaround we used for doing multicam in FCP before FCP had a multicam feature. In pretty much any NLE you can find a workaround to almost any situation but just because it can be done doesn’t mean it’s the best way to do it (or even a comparable way to do it).
Can I pound a screw in with a hammer? Can I drive a nail with the butt of a screw driver? Can I run a 100 yard dash in flip flops? The answer to all of those questions is “yes”, but “can I” is the wrong question. The right question, is “what’s the best tool I have for the job at hand”? If the choice is between hammering a nail with my forehead or with the butt of a screwdriver I’m going to chose the screwdriver. If the choice is between a screwdriver and hammer I’m going to chose the hammer (especially if my income depends on my ability to build structures using nails as fasteners).