Franz Bieberkopf
Forum Replies Created
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… Lightworks still to come.
Franz.
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[Dennis Radeke] “We do understand that many FCP and Avid people want a clip mixer and we will see what happens.”
Dennis,
I think Michael Gissing articulated the issue more clearly above – the issue is not so much clip based vs. track based, it’s the fact that track based information is useless if your edit isn’t locked, ie. it sort of assumes I’ve finished editing before I mix (which is a poor model).
Sticking with the current Adobe model would be greatly improved if track-based mix automation moved with clips.
Franz.
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[Michael Gissing] “That said it is vital that a simple means to move track based automation with the clips is important so that automation made during the edit process sticks to clips. If Adobe can make sure this happens elegantly then I think editors will see the benefit of track based automation.”
Michael,
I think you’ve critically articulated it best here – understanding the strength of both models, the problem of the current implementation, and a clear way to improve. Please send to Adobe!
Franz.
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David,
How is it for audio, particularly mixing? I haven’t seen or heard much talk of changes (except the UI of the mixer) which leads me to believe not much changed from 5.5 in this respect.
Franz.
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I’m likely to have a look a bit later (June? July?) (perhaps while also checking out Lightworks and FCPX).
I’m encouraged by what I hear and see but still skeptical until the test of practice, particularly with respect to large projects and also audio handling / mixing.
Franz.
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Craig,
Avid press release (which contains more detail than the SCRI summary):
https://ir.avid.com/releasedetail.cfm?ReleaseID=667860
[Craig Seeman] “Basically I’d like to see 2011 compared to 2012 once this year is complete. That will indicate whether it was a one time bump vs a trend. My concern is that Q1 2012 may not be better than Q1 2011 which may not be a good sign that it was anything other than a bump. In other words, typical comparison are in matching quarter Q4 2011v Q4 2012 or all 2011 v all 2012.”
Now that the info is published, have you done your comparisons?
Franz.
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[Bill Davis]
“I was happy the way things were and I don’t like change.”
Verses
“I’m willing to alter my expectations in order to approach traditional processes in new ways.”
Both defensible positions. Neither “wrong.””
Bill,
I have to say you continue to astound me.
I’m constantly flabbergasted that you can read these forums and only see two perspectives represented.
Franz.
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Dennis had posted this link in another discussion (last week, I think).
I would agree with him that of the numbers posted here recently, this is probably most “transparent” in terms of claims but a few points do need clarification:
First, as Dennis pointed out, this is the year before FCPX release. I assume that means there’ll be new numbers soon.
When he’s talking growth (30% growth by units year on year, 45% growth by units on mac, year on year) he’s talking about “professional video business” so I’m assuming that means CS, AE, and PPro unit counts.
But he’s pretty clear about the 2 million number – he says that’s “installed seats” of PPro worldwide and doesn’t include upgrades, only new copies. Wikipedia tells me PPro was introduced in Aug 2003 so that’s 2 million seats in just over 7 years.
Of course we have no idea of how they’re used.
[Bill Davis] “Anyone else regularly getting significant work from PPro editors or get calls from clients wanting you to finish work in that program?”
[Neil Patience] Have to say Bill’s experience mirrors mine here in the UK – never in 20 years of freelance editing been asked to edit with PP …
It’s amusing to watch the shifts from appeals to statistics to appeals to anecdote as each suits an agenda. I think there’s been informal polls here before on NLE use, I suppose we could do with another one …
[Neil Patience] “As I said earlier probably something like 70/30 Avid – FCP in London.”
My experience is similar – Avid and “other” in the labs I work with and majority FCP7 for “offline” uses. I agree with Jeremy (and others), I think the next twelve months will be the shift though
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[Thomas Frank] “No not saying that but in our case we would need the paid version…. codecs…”
Thomas,
I’m not sure if you watched the video or looked at their site, but the paid version you require is 60.00/year.
https://www.lightworksbeta.com/index.php?option=com_content&view=article&id=122&Itemid=263
https://www.lightworksbeta.com/index.php?option=com_content&view=article&id=108&Itemid=247
https://www.lightworksbeta.com/from the link:
But we encourage you to upgrade to the Pro version for $60/€50/£40 per year. You’ll get the codecs you need to work with all common camcorder and DSLRs, the Lightworks real-time title tool, and Network Project Sharing.The 3000.00 controller hardware is quite separate from that.
from the orig post article:
Lightworks has always been known for its hardware controller and that current controller is still around. It’s a sturdy, well-made machine with a jog shuttle lever, a scroll wheel and a bunch of button for Mark IN and OUT tasks as well as edit tasks. If you go Lightworks the edit controller doesn’t come cheap as it’s priced at around $3000. They are precision hardware made in small quantities.Franz.
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[Thomas Frank] “… console kicks a$$ …”
Thomas,
You seem to think the free software was unusable (or not a good editor) without the hardware. In what way?
Franz.