[Carlitos]

“Not sure where you got that.”

.- From The Avid Xpress Pro/Mojo( V. 5.2.4) I own and use everyday and from the Media Composer Adrenaline I work with 8 hours a day in my Job.

“You can encode mpg2,”

.-

[Carlitos]

I also understand that Avid is much faster than Premiere, with seamless integration between editing and creating the DVD…unlike Premiere/Encore.

.-DVD integration (and exporting to any movie in general) is, precisely, the weakest point in AVID.

It’s terrible.

And I’m talking about the newest AVID Xpro version (5.2.4).

You can’t even convert to MPEG-2 direct from AVID.

You can’t make an uncompressed AVI bigger than two (2) Gigs.

Premiere is SOOOOOOOO better at this…

[Carlitos]

ust use any id except 7 (which is the default ATTO SCSI ID). Feel free to use 0,1,2,3,4,5,6,8,9,a,b,c,d,e,f. You can use the same numbers on the 2 different busses, as well – just avoid 7.

.- You can also change de SCSI ID on the card if you want.

I always use ID 0 on the Host adapter.

[Carlitos]

.= After effects 7.0 and (PPro 2.0) supports Geforce (7800 and even 6800) videocards, even in high fidelity mode:

https://www.adobe.com/products/aftereffects/opengl.html

I personally use a 6800 w/ 256 MB ram heavily for Avid Xpress, Premiere, After Effects and Combustion (latter versions), no problems or limitations so far, with the only exception of slower Open GL previews in Combustion 4 (which I rarely have used and it’s not a must need).

Of course, a quadro is a better card for graphic work, but not a conditon “sine qua non”.

[Carlitos]

would I be at a disadvantage if I went from DV Xpress straight to Liquid 7?

.- Liquid is a totally different interface than the rest of the Xpress/Adrenaline family you are familiar with.

The only thing they have in common is the AVID logo when you open the program.

So if you buy Liquid, you’ll have to learn a whole new program from the start.

[Carlitos]

The same with the cumbersome and clumsy Multicam implementation in 2.0

We never had it, so at least is not a step back.

[Carlitos]

I work with stills in Premiere a lot. I learned long ago that resizing the stills to an appropriate size does many things that are helpful.

.- I’d add that almost ANY non super-mega-high-end video app ( INFERNO, DS and the likes) has a hard time with huge stills and heavy graphics.

[Carlitos]

“you can also apply an “adjustment layer” (I forget what premiere 2.0 calls it) to apply a pile of effects to multiple clips at the same time..”

.- Nope, you can’t.

The “invisible layer” (that’s the name) is only for a very (VERY) limited number of effects.
Only the Generate-type fx, like Timecode, particles or Knoll lights will work.
There is no change (at all) or possible adjustment on the layers underneath using this invisible layer.

It’s just an ordinary, simple and vulgar alpha channnel, like a title layer.

Would have been a NIIIICE feature to have an adjustment layer, not the “invisible layer” bad joke.

Anyway, Premiere never have had an adjustment layer (still doesn’t), so at least it’s not a bug or a step back.

If we lived without it before, we will survive.

But it would have been a NIIIICE feature and a good selling point.

[Carlitos]

I work with heavy graphics, many layers, etc on a daily basis.

I’m more a compositor than an editor.

I find the renderings and Real time performance in 2.0 much better than in 1.5.1. with the same machine.

The RT performance in 1.5 wasn’t as good as in 2.0 by far. At least is my perception.

And the interaction between Premiere and Photoshop in a lot better in 2.0.

My biggest complaint is some issues with 1.5.1 (and older) projects.

[Carlitos]

Mine is working fine.