Chris Conlee
Forum Replies Created
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To be fair, I haven’t played much with PP CC (although I am currently a subscriber), but I spent a considerable amount of time with CS6 and I liked it immensely.
I’m an Avid guy thru and thru, but I was to cut a VFX heavy RED movie of the week for Syfy a year ago and I briefly toyed with the idea of cutting it natively in PP CS6. The performance seemed to be there and I actually liked some of the features of it. But the deeper I got into it the more I realized it wasn’t quite ready for prime time.
For instance, it was a double-system show, meaning all the audio had to be synced. This wasn’t an issue. But, at least at the time, PP didn’t have a means of exporting AAFs from post-synced audio. Instant deal killer. No means of making deliveries on the back end. I’ve since heard that some users came up with a work around by sending the audio to Audition and then exporting it from there. Not sure if that’s still a necessity or not?
But in addition to that, there was no way to match back to post-synced audio, for instance. This was a problem because I had a scene where a character was playing piano in a lounge. I cut the piano track on V1 and A1, then started inserting cutaways into the shot. But as it got more complicated, and we made some music edits to the cue, there was no way for me to match back to my synced picture from the piano cue I was using as a reference.
It’s just things like that which made me realize Avid is king of the hill, at least in the broadcast and feature world, for a reason. Pretty much all of those types of contingencies have been thought of and accounted for. Is it exciting? Not really. But damn if there’s something you want to do and can’t find a way to do it. It’s just that deep after 20+ years of doing what it does.
If you want to get into network television or major features, I’d recommend learning Media Composer.
Chris
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I’ve been playing with Lightworks, under Bootcamp, and I have to say the no saving thing definitely catches on fast. I don’t use FCP X, so I don’t know if it’s the same, but in Lightworks there isn’t even a save button in the menu. It just saves every keystroke, period. No ifs, ands or buts about it.
That’s something Avid could use.
Chris
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Or just install as a trial until the licensing gets sorted out. That’s what I did.
I finally got my email from them and it updated just fine.
Chris
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You might, and I want to stress MIGHT have luck by AMA-ing all the clips into another bin. Select all the clips in the bin, then leave that bin open. Open your sequence bin. Select the sequence and try to relink AMA clips with the “Relink to Selected clips in open bins” option. This might relink your files for you.
Good luck. As has been mentioned, relinking AMA is a dicey proposition at best.
Chris
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[Chris Harlan] ” The mode to mode thing used to bug me, too; but when I got a little more simpatico with the software, it disappeared as an issue. You begin to understand that it is there so that you can operate more efficiently in the mode you happen to be in. It also has become so easy to cross between them, mouse-wise, that I don’t think about it much.”
Perhaps because I’ve used Media Composer from the beginning, I’ve never for the life of me understood what people are talking about when they mention these mythical “modes” that supposedly don’t exist in other packages. I’ve asked, and nobody can explain it to me either.
MC is my tool of choice, and to the OP, yes, I’m very excited by MC7. Background render and waveform cache alone made it a must-buy for me. But lately I’ve been doing a lot of feature work in FCP 7, and while I’ve grown accustomed to it (this is my 4th feature edit for a company whose workflow revolves around it), and actually like it for some things, I still have to go into a “mode” to edit effects in it too. What am I missing here, folks? Whether I have to click a tab (FCP) or press a key (MD) to open the effect editor, to me doesn’t make a difference. Both still effect editing modes.
Confounded.
Chris
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I’m starting to become a believer. Not related to rack-mounting, but interesting nonetheless…
Chris
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Yeah, I’ve done a LOT of Red shows in Avid now, and I’ve resigned myself to transcoding to DNx36. At first I was bummed, but ultimately I’ve come to appreciate it. Far easier to scroll thru, easier to share the project with assistants and other editors, etc. And the online conform isn’t nearly as complicated as it seemed at first.
Chris Conlee
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Did this ever get answered? I too am curious whether VisLM does Leq(m) metering. Also, does LM-Correct do Leq(m) corrections?
Chris
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[Nick Meyers] “but here’s one more thought: as well as the format mis-match, you may be having ANOTHER ISSUE .
in FCP User Prefs, set your real time mixing to a LOT higher than the default of 8 tracks.
that default hasn’t been changed since 1999 or whenever it was FCP came out!”Ding, ding, ding, we have a winner!
While I still have a number of temp cues and sfx at mismatched rates, the biggest problem was indeed that realtime editing was set to 8 tracks. Now that I’ve got that set to 20 tracks, things are much smoother.
And the original editor of this piece was the director, so I can’t really blame any other “editor” for this mess.
Chris
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[Chris Jacek] “I haven’t tried Lightworks yet, but I am intrigued. Do you guys really think it’s ready for prime time?”
Definitely ready for prime time, but unfortunately PC only at the moment. A Mac version is promised, but no definitive timetable has been given as far as I know.
You could also go with Avid at $295 per seat for academic, and VidSharX for a shared networking system. This would give your students a REAL perspective on what it’s like in the broadcast world with shared systems.
Chris