Chris Harlan
Forum Replies Created
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[craig slattery] ” I very much doubt you could achieve this in any other NLE.”
This definitely sounds like this is X’s forte.
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[Bill Davis] “Come on Craig.
We all know X is a toy.
“Come on Bill. You’ve got to stop pretending that people are still making this argument.
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[John Davidson] “Interesting. What’s the monthly rental cost for FCPX again?
“You are just having too good a time!
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These are some of the details that are still keeping me away from X. My deliverables generally have 8 channels so I definitely get where you are coming from. Your work-around sounds fine, though. There’s no sin in using both programs until X fills itself out. I would render out via roles, as you are currently doing, and then do my final checking in Pr 6, as it has the best monitoring capabilities.
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[Oliver Peters] “My recollection of the much-ballyhooed “dropping the Mac” is different from Craig’s. Avid NEVER stated this officially and quickly back-tracked from it when it was attributed to Avid marketing.”
Yes. In retrospect, I do believe that’s what happened. For years though, I though the company officially, but very briefly, dropped Apple, because some of the folks on the NAB floor were so absolutely certain of it. I see that now, as a miscommunication between management and floor staffers. That’s why I have no real interest in jumping on Adobe for the CC/perpetual misinformation this year.
[Oliver Peters] “Like the Montage, this was one of the prevalent episodic TV/film offline edit systems of the day. It used 8 or 12 VHS decks to mimic random access.”
I got to see the Montage version of this, and it was a monster. I didn’t start using Montage until the 3, which was all computer-based. Frankly, I liked the Montage3 system quite a bit. It was built around Intel’s Action Media II card, as were many of the PC NLE’s at the time.
[Oliver Peters] “All I can say about Avid is that at the individual level, my interactions have been great. Support has been there when I needed them (rarely). The software is rock-solid.”
Yes. I have to agree. And there online forums are terrific. Oh, and the tenacious Marianne Montague–a legend!
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[Charlie Austin] “Well, they kinda were the only game in town. ;-)”
Hate to disagree. That’s often the perception, but really there was a lot of other stuff. I edited on a Montage3 for years, as well as a D/Vision, which later became Edit. I think I got my first demo of Lightworks back in ’93 or ’94. The first “broadcast” cards were Perception’s PVR and then the Media 100 Vincent card, so Avid was actually kind of late to the table on that, too.
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[Steve Connor] “[TImothy Auld] “That’s what it is, Jim. A new paradigm in creative billing.
”Magnetic billing, sticks on you forever
“Actually, I think the problem is that it doesn’t stick on you forever, and might possibly release at exactly the moment you are least likely to want it to.
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FWIW:
I’ve done a season’s worth of promos (13) for dramatic scripted, with all 42 min episodes on board in the same project at the same time. All were transcode rewraps of ProRes HQ. Everything ran smoothly, with the following two exceptions:
1) The automatic space allocator in transcode does not accurately assess the required disk space, generally more than doubling the actual amount of space required. The file transcodes accurately, but the allocator will not let you proceed if it thinks you don’t have enough space. I do not know if this has been fixed in 6.5, but it is a consistent problem on 6.
2) Coming from PoRres Quicktime, there is the possibility of some sort of metadata mismatch that can throw off sync. This problem has only occurred for me @25fps, and is inconsistent. When it happens, it effects both MXF and DNx transcodes. It is also visible with AMA, so its quickly spotted. My answer was to pass the files through Compressor, which ironed out the issue without fail. Since my source files all came from the same Post House, I don’t know if this was an issue restricted to their setup, or something wider. I did notice that files processed on the same day, seemed to have the same problem.
Otherwise, ProResHQ behaved flawlessly. I don’t know if that helps you, but there it is.
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Oh, yeah. A year and a half late. Sorry about that
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[Toke Trangbæk] “But i would really just like to hear from somebody that have worked with native prores in Avid 6 on a big project.”
I don’t know if I count or not, but this is what I’ve done so far:
I’ve done a season’s worth of promos (13) for dramatic scripted, with all 42 min episodes on board in the same project at the same time. All were transcode rewraps of ProRes HQ. Everything ran smoothly, with the following two exceptions:
1) The automatic space allocator in transcode does not accurately assess the required disk space, generally more than doubling the actual amount of space required. The file transcodes accurately, but the allocator will not let you proceed if it thinks you don’t have enough space. I do not know if this has been fixed in 6.5, but it is a consistent problem on 6.
2) Coming from PoRres Quicktime, there is the possibility of some sort of metadata mismatch that can throw off sync. This problem has only occurred for me @25fps, and is inconsistent. When it happens, it effects both MXF re-wraps and DNx transcodes. It is also visible with AMA, so its quickly spotted. My answer was to pass the files through Compressor, which ironed out the issue without fail. Since my source files all came from the same Post House, I don’t know if this was an issue restricted to their setup, or something wider. I did notice that files processed on the same day, seemed to have the same problem.
Otherwise, re-wraped ProResHQ behaved flawlessly. I don’t know if that helps you, but there it is.