Annaël Beauchemin
Forum Replies Created
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well, yeah, I thought Xpress DV had the same editing features as Pro, and since I go from one to the other to symphony to DS and back to FCP, I get a bit lost ;-). But I also realise that Xpress is not “perfect” for offlines like I often hear. It’s “good”, no more.
Of course, one could argue that the features like “tail snap” are higher end functions, but in the context of offline/online workflows, editing feature set should be identical between softwares.
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[Oliver Peters] “Avid is still stuck in the offline/online mentality and has structured its product line around that strategy”
I often read and hear that Xpress is perfect for offlines, MC/Symphony great for onlines.. Xpress would be a great offliner, but it’s missing many *editing* (read: offline) functions. There’s no replace edit, no “extend” edit (not sure i’m calling this one right) and some others I can’t name (snap in/out?). These are functions I care to have when doing offlines, even more than for onlines. Every other editors of the price of Xpress have a replace edit.
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well, this thread really goes nowhere, but I could add that the Avid Quicktime codecs you’re talking about are there in the event you want to export video from Avid to a third party app (read: AfterEffects). They are there so you don’t need to transcode the video when going from .omfi to .mov.
You said :
[Carl] “OMF is a Quicktime wrapper. FCP use quicktime native, without wrapper.”Quicktime (.mov) is itself a “wrapper” which contains streams using certain “codecs”.
OMF (.omfi) is also a “wrapper” which contains streams using certain “codecs”.
AVI (.avi) is also a “wrapper” which contains streams using certain “codecs”.For example, you can have a DV-encoded video stream “wrapped” inside either a Quicktime, an AVI or an OMF. But QT will not be able to read an OMF, even if it has the right codec to decode the video stream. And the “OMFI Mediafiles” folder where Avid stores its media is full of those OMFIs that QT can’t read.
So how can we say that Avid runs on Quicktime?
Why Avid would not work without QT installed doesn’t prove anything. -
i know i’m out of topic with this question but here we go…
Does the DSR-11 have the same mechansim as the 1500? Or at least, does it has the same speed and reliability than the 1500 ?
The 1500 at the shop really makes batch capturing painless. If the DSR-11 is as fast, there’s no debate on the DSR-11 vs Best Buy camcorders.
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i’ve also experienced this edge problem with Keylight. Footage was shot digibeta, captured 1:1 in avid, then imported in AE.
In my opinion, either there is a problem in the avid to AE workflow, either Keylight has a tendency to give problems with edges. There are a few pos about this in the forum if you search.
The only real solution is to add chroma blur to your footage. For this, you either use a third party chroma blur plugin (Sapphaire has one, Magic Bullet a better yet slower one) or then you use a series of AE filters: Channel combiner (set to YUV to RGB), Channel Blur (on green and blue), and then another Channel Combiner (YUV to RGB). And then your keyer. This AE methode seem to me a bit less effective, but much beter than without any blur. Why does clean digibeta footage requires chroma smoothing, I don’t know.
I’ve had better luck with combustion’s keyer, even tho it takes more time to get the key done there. Keylight is great because i really find a good key on the first click and it despill automaticaly, whereas your need t do it manualy in combustion and it takes more time and experience. But the edges definately are more “stable” using other keyers than Keylight. I wonder if there’s a bug in the bundled version of keylight.
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are you doing the HD to SD downconversion in the camera? If so, this is the problem.
The first solution would be to capture in HDV, and convert everything to SD using compressor. But the embbeded timecode will probably go and you’ll have to re edit everything if you already have edited your show.
The second solution would be capture HDV and edit on an SD timeline. But you’ll have to render everything, which is a pain.
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can you provide us a sample image? It would be much better to see why/where is the problem.
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are you using FCP v5 ?
before v5, there was no filtering on scaling/translate of layers. This made high resolution graphics appear blocky and flickery when animated. so if you’re using FCP 4.5, I you should either do your text/graphics in AE or then updgrade to FCP 5.
Furthermore, i’m not sure that the default text generator does subpixel rendering…
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[oakmozart] “TRUE Image Stabilization, clone/erase/emboss/median/unsharpen/darken/lighten/gradient effects (don’t know if those are in Symphony Nitris, but they were in Symphony Meridien)”
well… not to be a smartass, but I’ve been searching for a “true” “unsharpen” (unsharp mask) and the only way I found to do it in symphony was to use a paint effect with an unsharp mask stroke, which was useless due to the fact it only allowed for integer brush size (which gives either too much/not enough sharpen.)
to ask the original queston, i’ll say that it adds more color correction tools, tracking tools and speed effects tools (timewarp). And then a bunch more, but not as close as DS….
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I doubt that this thread will ever be read by Apple but I think it’s a cool group therapy 🙂
The first four points are really high in my heart, the rest is pretty just my annoyances list.
so, what I miss in FCP:
– Extensive color correction.
We need a fuller, more integrated toolset. Something like there is on Media Composer/Symphony/DS.– Better time remap.
Why not integrate the Optical Flow technology they bought right inside of FCP?
Also, an option to time remap 24p footage correctly on a 29.97 timeline (i.e. doing a 3:2 contract first). Going to Cinematool is a huge loss of time and a very bad workflow.– Fix the damn bug with time remap and media recapturing/reconnection.
This bug has been there since V4 and made me pull my hair many times. It would probably fix the EDL exports problem too when using time remap…– Fix all the bugs with nesting.
On larger projects it happens often that nests aren’t updated or sometimes doesn’t get exported like you see/hear it on the timeline. Or at least, make it happen only when we’re not in a rush…– Real 10bit support. I have doubts that FCP renders all effects in 10-bits and some of them are just plain buggy in 10bit.
– A way to force importing of movies/images either as YUV levels or RGB levels.
In many situations it’s hard to know how FCP is doing it, and sometimes it’s doing it wrong.-Better/faster motion blur.
And a motion blur option for layer transform only (