Greg Ekborg
Forum Replies Created
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yeah, its definitely going to be a huge facility with 3 suites and complete production facility within the 7500sqft area. Chromamatte set up and with robotic Sony’s for skeleton crew shoots.
The IT guy is coming to go over what we need to facilitate this type of production house, but I was hoping to keep costs down in the post area. Otherwise they are going to purchase in phases, which will be daunting to me trying to piece things together, when we could buy an entire suite on at a time.
Several consulting companies have quoted us at over $800,000. to get started with AVID rooms. Thus it will be brought in through phases. How can you phase 3 suites, you would have to build one entire suite first then phase in second and third ones. I guess though, with the AVID Unity system, all three suites being AVID can work off of the same projects at the same time.
My biggest deal still though is having to render everything before or during an edit to add after effects to it. Know what I mean?
Thanks for the comments.
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Well, there is going to be 3 edit bays but I will be the lead editor and then there will be two other smaller suites for help on larger projects. I am the one in charge of hiring other editors or freelance editors.
I had a idea of three edit bays all outfitted with PC’s and all adobe. On a huge XRAID server for storage and transfer of media in between the edit bays.
Trying to get a better workflow for all bays. But the higher ups want full on Avid Adreline systems with Avid Unity. But you still have to render clips to get to the next step.
Its a bit overwhelming to have a purchase control on 3 suites. lol
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Wow, didn’t know that FCP had that many problems from what I have heard…Does the new AVID Pro with Mojo have the same issues about Media Files and moving them?
Maybe I should go back to Premiere with their new Pro edition and have an extremely smooth workflow to from PS to AE to Premiere and back to AE???
My only concern, because I do have them as does the orginal poster, about moving up to a new system, is that which application will be the best at the new IMX or HD acquisition, editing, workflow, and output? But, not being at that point yet, I don’t want to have to buy everything twice once I reach that level of HD.
Greg
Creative Director
https://www.deCONSTRUCTstudios.com
e. cd@deCONSTRUCTstudios.com -
Well, my two cents is this:
It is apple and oranges, but if you are a freelancer you should learn both and all NLE systems, from the software to the hardware.
As maybe a small post production facility, you need to pick one and stick with it and grow with it. Learn the nuances of its workflow.
I have edited on all of them, from a $500k AVID system at a premier Emmy Award winning post house, to the grunt work on a Adobe Premiere workstation.
I have noticed one thing though. For the money, FCP and Premiere Pro are more cost effective. AVID is more of the high end finishing suite. When I worked with a premiere post house, they used FCP for all of the grunt work with After Effects and Photoshop on MAC’s. But the Finishing was done on PC’s with MAYA and AVID.
Thus, its to each his own right now, with technology growing this fast, no one will be left out from the top dogs. Adobe won’t stand idley by as FCP surpasses them, and neither will AVID. Its just going to be a matter of what your more confortable with as workflow and Operating Systems go.
I personally love AVIDS interface and speediness. But I would like to use more FCP or Premiere as of late due to AVID’s complicated nature of OMFI Media Files and importing compressions on the Xpress versions. Comparably, I would say that FCP is better for the software side of things, but maybe for a large scale high end finishing suite, you might want the robust AVID systems to push them out. I personally can’t afford to change everything over to a MAC at this point, so I am stuck with Premiere or AVID Xpress. Til FCP goes cross platform.
Greg
Creative Director
https://www.deCONSTRUCTstudios.com
e. cd@deCONSTRUCTstudios.com -
I have tried single and lower, I usually do progressive 720×480 dv compression out of AE then single into Avid. I tried lower and lower on both export from AE and import for AVID, and that didn’t work either. I figured that upper and upper wouldn’t do anything different. I will try that as well. But the stump here is that this hasn’t ever been an issue before. I don’t know of anything that I have changed or is different for past exports and imports. I am becoming very flustered with this. Should I try to rebuild everything again and start over? Should I try to build it from within AE and not import a native .psd composition? I don’t know man, I am just at a loss with this.
I can definitely tell that this is infact a field issue by the lines its creating. But the clincher is that in a .mov file viewed alone before import into AVID, its clean, so the logical element would be the import process of AVIDS importing is the issue here. If you export progressive fields shouldn’t you import single field? I have been told that dv footage exported at 720×480 should be progressive and sinlge not separated at lower or upper. Only suppost to separate it if its at 720×486. And that has worked til now. Is this a wrong procedure? One single standard or guideline would be nice. This dv fields things is starting to get me confused on the correct processes!! I know I should know more, but I went by what I was taught in school several years back and its worked before. Like when I render an effect to 720×480 from Digital Juice, if you use lower fields, it looks horrible, but if you use progressive it looks like its intended form.
I guess this is a case for learning up on more technology huh. We are never done learning, its just that there doesn’t seem to be any standards to go off of.
Greg
Creative Director
https://www.deCONSTRUCTstudios.com
e. cd@deCONSTRUCTstudios.com -
I totally understand that, but I have never seen this before when importing something from AE. I have imported motion background and text motion for several years now and have never seen this issue. So I was wondering if it has anything to do with it being a native .psd composition in AE? Everthing was antialiased and whatnot, and export was uncompressed, or animation compressed or dv compressed. None of them are working. The strange thing is that when viewed as a .mov file before importing it to AVID, it looks great as well. I have tried all the different field interpretations and orders yet, still it looks horrible. I can’t turn in this project like that as you can see. lol
Is there any setting or import setting I might be forgetting? Is there any work around to get this back to clean?
Greg
Creative Director
https://www.deCONSTRUCTstudios.com
e. cd@deCONSTRUCTstudios.com -
Sorry, forgot to mention the area is Vegas…
Greg
Creative Director
https://www.deCONSTRUCTstudios.com
e. cd@deCONSTRUCTstudios.com -
Yeah thats about average here for CBS and FOX….51k a year for Avid Editor and After Effects guru. Plus I would say as well, that it depends on how much you bring to the table as well. If a small part of the edit needs to be tweaked out of AVID on another system with AE or PS on it, and you can do that, then your value is higher, than them having to bring in a freelancer for a small aspect of the project.
Greg
Creative Director
https://www.deCONSTRUCTstudios.com
e. cd@deCONSTRUCTstudios.com -
So Cleaner XL can take in AVID QT Ref. clips and encode them? Is this faster???
I am tired of waiting 4 to 6 hours for 60 mins of AVID footage to export out as an MPEG 2!!!!
Greg
Creative Director
https://www.deCONSTRUCTstudios.com
e. cd@deCONSTRUCTstudios.com