[Fred Jean]

I learned the basics on PP, them used Edius for a few years and switched to MC about 6 months ago.

Imo, it’s indeed really worth. Yes there are some irritating points, of course, but the balance clearly is on the positive side.

With big volumes, metadatas, file managements, stability, IMHO it has no rival.
Also, switching to Avid changed the way I edit. Before I was editing like kids do with PP. Avid sort of drives you to a more mature way and in the end, not only is more efficient in story-telling, but faster.
The only real rival I can think of in story-telling is Lightworks.

Avid learning curve is more difficult than the competition but definatly worth.

Edit: and, oh yeah, another factor
That is silly but happened to me.
When I was in PP, I was one more.
After the switch to Avid, I noticed
People having more consideration,
And more interesting clients araised.
Don’t get me wrong, I’m ridiculously
Small in this industry, but it’s a fact
That the most interesting prods
Are cutted with Avid. It has an impact,
Or can have an impact on one’s carreer.
The very respected TVE is all avid
https://www.avid.com/US/about-avid/customer-stories/RTVE,
Cine industry here is Avid and
smoke to some extend. And
Avid editors still earn more money
And are more considered.

Fred.

[Fred Jean]

Hi,
What happens is if you work
In 16-235, you can expand
To web by using the RGB setting on export.

But are your originals previous to transcode in full range? using AMA before the transcode gives
Control at the roots.(ser source
Settings)

709 tells the app to not remap
Regardless of it’s legal ir not.
RGB would “compress” on import
And strech on export.

The plague is the QT. I wish Apple would free Prores. Both the wrapper and the viewer are a non-sense.
Not only in the gamma shift but watch-out your settings on H264 export between the HD and HD 16:9 nomenclature because the latest would crop your image for what they call “clean aperture”.
In the end, this fabulous qt does
What it wants to according to
What it consider cosmeticaly
Cool.

In fact. Are you obliged to use qt for web? Sorenson can create H264 qt free.

This qt should be prohibited by law.

Fred.

[Fred Jean]

This is an interesting thread also
For what’s involved behind.
I don’t know how are you guys in the US, but here it’s the big mess.

There are extremely well prepared pros mixing with completly unprepared ones on the same productions. The all concept of tasks is vague and many areas are precarious. Doing more, faster and for less with crews with completly unbalanced levels of experience.
Many times you’d hear some people pointibg Arriraw without being aware of the minimum costs involved. They plan that as if it was prores. Everything is mixed together, red, dslrs, af100 and nobody cares about settings, metadatas and so on.

Now, since Resolve is free, everybody’s a colorist. At least, on the quantel, nucodas etc…you don’t find unexperienced people and job is done profesionaly, but those guys work each time less.
And even the real Resolve colorists,
Because “my nefew also uses Resolve”
Effect.

New professions that nobody really
Knows because a DIT could also
Be the prod’s daughter.

It’s the huge mess. I don’t know where we’re going but there is a deprofesionalization. Second editor assistant is at 800 euros/month at best. You don’t Pay your bills with that. The doorman of my building and the cleaning Lady earn more.

I came relatively late in this business,
And still have a lot to learn, but
I see the most experienced long
Time pros that are going crazy
Because all this “low cost”
Mentality is starting to cost more
Money to everybody!

But now advertising is youtube
And widgets for tablets…
I’m not far to think that Apple
Was in fact Clever with fcpx.
Maybe they anticipated where
All that is going.

Fred.

[Fred Jean]

Exactly Paul,

Because then, others questions araise.
Like when it’s time to color correct, what would we bring into Resolve or Assimilate etc…8 bits H264?

I’ve even seen badly lited green screens done with those codecs !… and it takes forever in Nuke (and various keyers flavours) to end with something minimaly decent. In the end the cheap ends to cost more and never ends to be fully satisfactory.

That’s why the Alexa in ProRes workflow is so great to work with. But I admit that not everyone can access Alexas. But even in the “cheap” dslr, the GH3 now shoots at least ALL-INTRA, ok at 70MB/s wich is short for INTRA and yes, h264, but not in AVCHD, at least a step in the right direction. I hope those H264 will be erradicated soon from the workflows.

In the era where we start to talk more and more about 4K, image quality and so, what will dslr manufacturers do: 4K in 8bits and h264? So it will be artefacts orgy in 4K instead of HD…

Hopefully, the democratisation of Raw video will put this compressed saga to a remote nightmare soon enough.

Fred.

[Fred Jean]

I totally agree. But can this be done in planification at the very roots?

I mean, I hate this h264 within the pipeline. I really do.

So I’m a bit radical, I admit.

Fred.

[Fred Jean]

There is something I don’t get in this thread.
What’s the point of relinking to original footage when it’s H264 ?

Since we had this dslr saga, we got
This h264 plague within the pipeline. Thank god Panasonic stopped to implement it in their GH series.

I see the point of conforming to original if there is a jump in quality,
But to h264 ?

Avid, Apple and Grass Valley have
Great codecs for editing, hassle-free
For what they been designed for.
Dslr codecs are always hassle-guarantee.

I understand the Desire to edit
Natively Red material in 4k, although
We’re not really there yet. But
I have hard time with h264, avchd.
They should be AMAed for review,
But them, what’s the point of a
Relink to those if they are highly
Compressed?

Fred.

[Fred Jean]

Thanks for those clarifications Michael.

Cheers.

Fred.

[Fred Jean]

Thanks for this important precision.
Cheers.

Fred.

[Fred Jean]

Hi,

Does the material to relink start with the same timecode?

Have you changed a name/caracter within the original C300 folder structure? changed any metadata after trancoding?
If media has been copied, does the entire folder structure is intact?

all 48KHZ?

Fred.

[Fred Jean]

Exactly Shane,

But what I mean about the console command and audio is that (at least that’s the way I’ve been taught but as I never tried personaly this workflow I can not affirm 100%) the audio of the clip has to be removed to go the console route, previously to import.

The steps would then be:
– remove audio before import
– ignoreqtrate step
– import step

Can someone confirm or infirm this?

Fred.