Chris Harlan
Forum Replies Created
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[Marcus Moore] “The only disadvantage I see here is the lack of available vertical space for the Project timeline- which is always at a premium.”
When I use this monitor with an Avid setup, I extend the TL across the entire bottom, and easily get 18 tracks of audio. As John says, its not just the size, its the resolution.
I’m quite happy with it.
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[John Davidson] “In terms of near 4k monitors, we also have 2 of the 34in LG UHD monitors with our two nMP’s and those are really really great. $999 at Frys.”
I second that! I’m using one of those as a Macbook Pro station, and its terrific. The screen space is amazing.
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Good demo!
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Love it!
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Well, you made me look!
8.1 does have some changes. Little ones but nice. You can finally invisible a clip or track. Its worth the upgrade for me!
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[Charlie Austin] “On a completely unrelated note… you running MC 8? If so, anything worth upgrading from 7, particularly for someone who barely uses it? And saying “barely” is being generous. :-)”
I’ve been crazy busy, so I could be wrong, but as I understand it, 8 is currently the rental version of 7, and there are no differences, yet.
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I’ve only ever done what you’re talking about with layered tracks, and dissolves or key-framing on each of the tracks. That’s on Avid, Legend, and Pr, as well as many others. Could be me, I suppose–I didn’t know you could sub-frame cut audio tracks on 7 until I was nearly ready to abandon it.
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[Shawn Miller] “[TImothy Auld] “Am I some kind on moron for signing my posts? Do people not do that in the modern times?
Tim”
I guess not… I must be a moron too then. 🙂
Shawn
“
I never seen it as a faux-pax; I just figured you folks were nicer than me.
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You guys are apples and oranging it, aren’t you? Charlie, you are making the point that an “asymmetrical” edit, in the traditional sense, really isn’t, because all its doing is moving the center point of the cut within the transition as opposed to on the timeline, and Aindreas is pointing out the convenience of having a tool, vis a vis the transition, to do that.
Yes, I’ve always felt that the naming of an “asymmetrical” transition was misguided, and yes, the only way to make it truly asymmetrical would be separate, unmatched overlapping transitions, that would generally have the effect of adding black to one of the sides.
Aindreas, on the other hand, is pointing out the usefulness of having the positioning built into the transition, itself, which is something I agree with.
Or, am I missing something?
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[Tim Wilson] “[Chris Harlan] ” Not me. I’ve been very happy with both Avid and Premiere. Both worked out better than I expected.”
Hmmmm….also an interesting answer. What were you expecting, and how are they better?
“Well, I was quite the fan of FCP, and really doubted that I’d find something as good for what I do. I had to really relearn Avid when I went back to it, and kind of resented the interface at first. It grew on me, and once I’d absorbed the mode metaphor, I found that I really enjoyed the interface. I love the source timeline, and the trimming mode, but I also really like the smart tool, which was new for me. Premiere, on the other hand, has pretty much everything I liked about FCP–flexibility, being number one–but is more mature. I feel very comfortable moving back and forth between the two. I still use FCP 7 now and again, as well. Between the three, I’m quite content.