Chris Harlan
Forum Replies Created
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[Franz Bieberkopf] ” can you summarize the features or aspects of MC that you feel are strongest or that you miss while working in other software?
“I fear I don’t really have the time to detail it today, but have done so elsewhere. Trim mode, once you really get the hang of it it, is a very nice thing. And the Source Timeline–that’s probably my favorite Avid exclusive. In fact, yes, that’s the thing I miss when I’m using Pr.
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I’m not quite sure I understand your question or questions. But, I–as many who work like me–wear many hats. Sometimes I’m sitting in someone else’s chair, sometimes my own. Sometimes its my equipment, sometimes it belongs to them.
Tape is no longer a de facto delivery format, and source files are most readily available as either DNx or ProRes HQ, though other formats are sometimes available. Similarly, delivery requirements are usually one or the other above formats. Some deliveries will require project files, some will not, but if a major studio is making that request, then you are expected to deal with it.
Things are very project, season, or show based. A large number of people are often involved at a variety of different levels. You may have to take snippets of someone else’s work, or plug into someone else’s group project. Perhaps its better to think of Avid as a shared language rather than an NLE. If you can’t speak that language, there are a whole lot of things you may not have access to.
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[Walter Soyka] “In other news, GoPro’s CineForm is now SMPTE VC-5.”
Cool!
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[David Roth Weiss] “If every camera shot a version of Pro Res wouldn’t life be grand?”
Or DNx. I do get h.264 from time to time, but that’s usually for the sake on high capacity Internet delivery, and its something I always transcode to whatever I’m natively working in. But, yeah.
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Hardly! As, I said I was using proRes, which Avid works with really, really well.
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[Franz Bieberkopf] “Chris,
Of course, I posted the above knowing full well that there are those using it daily and enjoying it.”
Certainly, Ulysses. But since I was apparently one of the sirens that brought you to the island, I felt an obligation to sing a bit.
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Oh, dear! Sorry if I steered you in a wrong direction, there, but I still truly enjoy working with MC. If I had to choose one, it would probably be Pr, though. For the record, I’m not having the kind of problems you seem to be having with AMA. I find AMA on MC7 really effective, though I work almost exclusively with ProRes when using AMA, so that might have something to do with it. I just cut an entire season of promos (23) entirely with AMA, never transcoding at all. My playback, off a MacBook Pro, and out over tBolt to multiple monitors was stellar, and trim mode was very responsive. And, of course, I work exclusively within that Los Angeles environment you are talking about, so MC skills are pretty much required whether you like it or not.
As to the Modes, I used to agree with you and absolutely hated them. Once I absorbed the concept, however, I ceased to notice them, and now sort of miss them when I’m in Pr.
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Gotcha. I’ve always been a two screen (three including broadcast monitor) guy, but I’m really enjoying this. If I get a Mac Pro down the line, I might go for two of these on it. It’s funny that I’ve moved to “if.” I find the new Macbook Pros so versatile that, given my need for mobility, I’m more inclined to go with them. I’m still not a big fan of the 15″ screen, but I can set up multiple sites and move CPUs between them, which is kind of delightful. TBolt really was a game change for me.
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I guess I don’t understand your point, then. You’re saying that you loose vertical resolution for timelines, but it has every bit as much vertical resolution as WQHD monitors, which now represents most higher resolution 27″ monitors. True, there are still a few 30″ with 1600 instead of 440; is that what you are referring to?
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Its also cool that it has pass-through TB and USB 3. Makes a terrific docking station for current MB pros.