Daniel Frome
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COW Coin
Forum Replies Created
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Yeah… what you’re saying is a common one: Premiere Pro seems to ride the best balance between convention and new technology. Not quite sure how us other editors can genuinely add to your discussion. It seems you’ve thoroughly investigated and made a well balanced opinion.
I began my career on FCP7 and often wished for the death of Avid. Then I switched to Media Composer and funny enough, I prefer it now (probably due to the disproportionately high amount of training I received on it, versus the competition). However, I’m also editing a series on Premiere Pro too: great software. Their trim mode is so damn Avid-like now. As an Avid user… I feel very comfortable on the new CC 2014 version.
That being said, now that I’ve been using it frequently I am realizing that once the project size gets fairly large, the speed advantages of the engine start to dissipate (to be fair, we’re editing native AVCHD and H264… unheard of for Media Composer) … but… I guess the point I’m trying to make is that many of the speed advantages in all the NLEs starts to fade a bit into the background as the daily grind of editing just takes its course, until it doesn’t really become a topic of contention anymore.
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I do think the hamburger menu needs some sesame seeds added to it, true.
And nobody knows how nesting works. Nobody.
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The last time I went to Vegas they Premiered a naked Symphony by some terrible Composer named Edius, who didn’t have a clue how to Resolve a note.
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I use it mainly for creative tinkering, and admiring all the real-time scopes…even on my laptop.
It seems to have troubles working properly with my AJA T-Tap … but I won’t let that bother me for now. Even with any perceived shortcomings, I can still “sandbox” my ideas around faster than other NLEs.
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Well they did get one new customer .. me… .finally (after how many years??).
I don’t have a specific project I need FCPX for, but I finally felt confident that my purchase would eventually yield itself beneficial. Especially for those times when I’m rendering every Avid effect on my timeline, pondering the purpose of it all 😉
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1) AMA link to the C300 footage
2) Consolidate the C300 footage
3) AMA link to the 5D footage
4) Transcode 5D footage to DNxHD 115
5) Edit!
6) Make AAF (with new consolidated media) of the final edit
7) Import AAF into resolve and finishing grading.Also: the reason I’m advising not to edit with AMA is because it is a 60 minute doc. Long cuts (10 minutes and more) tend to get unstable and slow with AMA.
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C300 format is natively supported in MC. You can consolidate (without a codec change) if you want the best performance, opposed to AMA linking. As for the 5D, I recommend you first run the original footage through QT Change (https://www.videotoolshed.com/product/42/qtchange) to give time-of-day timecode to your DSLR footage. Then proceed to transcode to DNxHD 115 and don’t bother linking back to originals.
Once you are ready to send to Resolve, you can keep the C300 footage and the DNxHD (DSLR) formats. Resolve will see both formats just fine.
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Basically, you’re getting advice to make 2 separate deals with Avid, since they compliment each other:
1) you buy Media Composer for $1299. This comes with 1 year of free upgrades. After 1 year is up – no more upgrades, unless you do #2 (bellow)…
2) Before your 1 year is up, you can enter the “Annual support plan” — This is a yearly $299 fee that allows you keep upgrading your Media Composer to the latest version at no additional charge. This is only for existing customers …hence why you had to buy Media Composer first. And yes, this is sounds similar to Adobe’s plan, but the difference is if you ever stop paying, you get to keep (permanently) the latest version you last paid for.
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I just tried this, and did not find the error. However, note that your batch-import window has a ‘Current Settings’ button. Maybe press that and see what the settings say? It should say 601/709 (and not RGB) but you probably knew that.
Is this a DNxHD w/ alpha?
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Yeah, trust me I’ve BEEN there. This has an aging problem with Avid — but it only fits with their reputation as not being ‘single machine editor’ friendly. These changes, along with a few others, really need to be addressed if Avid ever wants to make single-machine editors want to use it. But…do they really want that? Seems not.