Chris Conlee
Forum Replies Created
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Yeah, I’m an Avid guy who only dabbles in FCP, but I’ve enjoyed reading some of the posts here (and not in a mean-spirited way, I know it sucks to have your favorite tool bite the dust…)
Chris
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With a hint of things to come at the recent Avid event in Los Angeles. I think there will be more third party support soon, but it’s speculative and no timeframe.
Chris
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I don’t think you’ll regret it, if you do that kind of work a lot. It’s pretty great.
Chris
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RTAS is really cool, but it’s severely limited by the inability to keyframe parameters. How often do you need to use the exact same EQ or reverb on an entire track? I do use it for applying compression to dialog tracks occasionally, however.
Chris
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I’m actually starting to like the software licensing, and I never thought I’d hear myself say that. When I forgot to deactivate my office machine, I simply logged into it with remote login and did it from the client’s space. Piece of cake, really. And no more worries about lost, broken, or stolen dongles. As long as you have internet connectivity, it’s actually quite painless.
Chris
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Greg,
I’ve been following your posts on the FCP X forum and think I warned you at one point to not try and make Avid behave like FCP. They’re definitely two distinct animals. Having said that, I know your pain. I came to Avid from a slew of other PC and Amiga based systems, and it took me a good month to feel comfortable with it. Now it’s completely second nature and I wouldn’t cut with anything else.
The “why does it make things complicated” style comments most often indicate the depth of Avid’s flexibility, which can be daunting at first. But there are nearly always quick ways to get a basic effect or technique accomplished. Just know, as a professional, when you want more it’s always available under the hood.
To make an extended flash to white, build a white frame in title tool (or import an existing one from Photoshop or something) and then dissolve into and out of it, choosing your durations to fit your needs. Remember, and this is important, you have to leave enough media at the head and tail of any clip in order to do a transition. If you don’t then Avid won’t let you build your transition. Also, you can tell Avid to start the transition at the edit, end at the edit, or be centered upon the edit, or you can manually place the center of the transition anywhere you like. Flexibility.
If you just want a simply flash to white at an edit point then select “dip to color” as your transition and change the color to white with the picker. Choose your duration (I usually use 6 or 8 frames).
For flashy “exposure” changes, you can apply the color effect from the Image effect palette, and keyframe the White Level (you can find it under the Luma Control turn down). This works really great for Tony Scott-ish speed ramps and stuff where you want to emulate the exposure of film when undercranking a movie camera.
Don’t get discouraged. And learn to let go of your FCP habits, because it will just hold you back.
Chris
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Actually, it looks a lot like, um, Avid, with flashy new colors. Basically, it looks unchanged, from what I can see in the blurry images.
Chris
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All I know is that working in Hollywood for the better part of a decade, I’ve never been on a FCP show, but I’ve been on dozens of Avid shows and features. And I’ve never even heard of somebody doing a show on Premiere.
Chris
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Yep, and it works.
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It’s called “sync locks” and it’s been there for oh, about a decade and a half. And yes, you can turn them off.
Chris