[Eduardo Serrano]

Hi Bob,

Thanks for your time. Maybe my question wasn’t clear enough, or maybe it’s a question of language since I wasn’t primarily educated in English.

I need a solution akin to Avid own ISIS/NEXIS, or even Promaxx plataform online hardware, that I could manage and setup users + allocated shared space for them. It’s simple enough but filmlight flux storage doesn’t allow this. It was designed for post house with it’s own staff. Since we are a rental house, without internal artists on staff, there’s a lot of concern by the clients with security for obvious reasons if we can’t manage this.

I hope I made it a tad more clear.

Looking forward to hear from you.

Cheers,

Ed.

[Eduardo Serrano]

One thing I found out just after they released PRORES as a viable codec is that one can export the sequence with little to no change in picture quality, if you export as source (using avid codecs) into quicktime, after you render everything. You can also use quicktime reference.

As long as you keep everything in Prores, I cannot stress this enough, it needs to be all prore, it will work. Also you cannot leave blanks in the timeline without any video, or effect, in beetween titles for example.

AND you need always to tell avid to keep it in 601/709, so it won’t change the color space. They should have relabeled this option to “no change in color space” a while ago. It is really confusing.

[Eduardo Serrano]

Bryce, I am really impressed by your platform series. Specially, the transcode features within a bin sharing server. I will ask the facility to talk to you as well. Thank you.

[Eduardo Serrano]

Good to know, Alex. We were actually about to write to you about it. I will ask the Technical Supervisor of the facility to write to you. Thanks.

[Eduardo Serrano]

I started on FCP. SInce like version 1 or 2. I spent the last 2 years cutting in Avid.
I was the advocate for FCP, always making fun of the avid geeks.

Now, I couldn’t start to try to explain to you why I prefer Avid. It just works. It takes a lot of the technical side of editing from me. I just ingest and it keeps formats etc all tidy for me. And boy, how much faster I am cutting with it. If it is for narratives, noooo way FCP can match Avid’s trim tool. It’s just too powerful.

Now, slowly slowly Premiere are just copying avid’s tools. But to be honest, they still have a long way to go.

It’s a different story if you work on short form and non narrative work.

But I prefer the robustness of avid any day.

I tend to agree to most of what Scott has written here:

https://provideocoalition.com/index.php/ssimmons/story/my_top_5_or_so_adobe_premiere_pro_cs6_features/

Ed.

[Eduardo Serrano]

I’ve just found this post from Marianna (avid) on the PC side of the avid forums.
It seems Avid is aware of the issue but is very far from a fix.

Folks……….

The basic architecture of MC 6 is completely different than that of the 5.5 and earlier code base. Most notable is the 64 bit architecture and the Open I/O. In 5.5 for example, the MXO2 was using the DIO interfaces, similar to what Adrenaline and Mojo SDI used.

But Open I/O uses the same interfaces as Nitris DX.

The problem is that during normal scrub, color correction, and trim modes, we send a single frame to tell the I/O device to stop. Some respond immediately to that stop command and some take a little longer. We do have a long-term architectural fix but it won’t be coming soon which is why Matrox has been tweaking their driver to provided those with the MX02 better performance.

Marianna

[Eduardo Serrano]

Last time I mesured, it was 14 frames of delay between the audio meters. Picture wise, the trim tool is really sluggish, like if you advance a frame it takes 5 seconds to comply.

So, it’s definitely not the lcd panel buffer, it’s something deeper.

[Eduardo Serrano]

I have the same sluggish issue both with caps lock and in trim mode with my matrox MXO2 mini. It renders the unit basically unusable.

Also, I have a sync problem between my various audio meters within avid.

The interesting thing is that matrox has an even older partnership with the MC team than AJA. Well, let’s see if any AJA user chimes in with his impression.

Ed.

[Eduardo Serrano]

I remember this question was raised in one of the last “that post show” podcasts. I even posted on Steve Cohen blog about it. They asked where were those 800.000 copies of FCP that apple liked to brag about.
Well, here in Brazil, at least in my area, one has to look very hard to find anyone working with Avid. To be fair, the main network, works with avid but most of everyone one else doesn’t. So, this is a FCP land. Brazil has a very strong and stabilshed TV culture, and its governement is investing a lot of cash in the cinema industry, through tax breaks etc. (just to point out that this is a country that recently outgrown GB in GDP, and it has 190 million habitants).
And because Steve asked me before, most of these copies are legal. At least, if it is a proper production company, they will hold legal copies. Maybe that’s not the case for freelancers tho’

About FCPX, I believe everyone is still wating to decide what to do. One thing is certain, it’s very difficult to argue against 300 bucls.

Myself, i was raised on FCP but educated in England on Avid. I fell in love with it, and for narratives, there’s nothing like it. Dammm, that trim tool is so sexy!

Now, let me go back to the carnival 🙂

[Eduardo Serrano]

yeah. That’s indeed a good idea but I guess I am dreaming of a simpler solution.

The problem is that there’s no NLE faster than Avid editing fiction. I miss my trim tools so much while on FCP. dammm.

Ok. Enough dreaming, back to work.