Herb Sevush
22
COW Coins
20
Premiere Pro Coins
Forum Replies Created
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[Jeremy Garchow] “I can understand his frustration. It seems to be the same argument, over and over.”
Pardon me if, having been out of town for a few days in Dallas watching my son’s team win the Final Four, I come a little late to this party.
If Adobe, and their employees, including [Jeremy Garchow] “I can understand his frustration. It seems to be the same argument, over and over.”
Pardon me if, having been out of town for a few days in Dallas watching my son’s team win the Final Four, I come a little late to this party.
If Adobe, and their employees, including Al Mooney, expected a different reaction at NAB, after watching the FCPX roll out debacle that directly led to the advancement of PPro, then they are, how shall I phrase this nicely — imbeciles: blind, arrogant and foolish – or as Bugs would say “real ultra-moroons.”
There is an implied relationship between a software vendor and it’s core users – not written, not legal, not binding, but still there none the less. When a vendor chooses to break that bond typically all hell breaks loose – the larger the customer base, the more significant the software is to that base’s income, the bigger the change, the hotter the furnace.
This does not mean a company doesn’t have the right to do anything they want with their products, it just means acting all surprised and huffy when the heat gets turned up makes you seem like a clown — what did you expect would happen when you deliberately dumped about 4 million users? Parades and balloons? If over the long run it works out for Adobe they will be a more profitable company. Both they and their employees should be happy with that, “love” from the adoring millions is somewhat out of the question.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[Dennis Radeke] “That’s not an excuse nor does his retracted statement reflect Adobe’s commitment and passion to our customers. He said something in the heat of the moment “
Heat often reveals truth, and while it might not be diplomatic, I believe that statement perfectly distills Adobe’s position. That won’t stop me from switching over to CC next month, but to quote Julia Child, all he did was call a spade a shovel.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[Scott Witthaus] ” how dare the new interface look like that wedding video software! How dare they!”
Don’t quite know what you mean here, the timeline looks more like Legacy or PPro than it does like X – you know, tracks, multiple viewers, projects that are projects, that sort of thing. Or are you hung up on the colors of the interface.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
Planning on switching our 5 camera PBS cooking show to SONY F55s this spring. Will record some single camera inserts in 4k internally, and use directly in PPro for ability to reframe. All the multi-camera stuff will be recorded externally as 1080 ProRes using our trusty KiPros. Distribution is still 1080 ProRes.
Herb Sevush
Zebra Productions
—————————
nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[Charlie Austin] “If you want to slip it, yes. But if you want to slip it, it was either out of sync to begin with, or you’re detaching it to cheat some dialog or something thus knocking it of sync on purpose right? Otherwise, there’s no reason to ever detach it.”
Yes and no. I slip out of sync on purpose, but then I often need to slip back into sync. I change my mind a lot as I edit. Most of my audio starts as sync, but then 20-40% becomes cheated, and this is extremely fluid as I refine what I’m doing. Sync becomes cheat becomes sync becomes cheat as I’m slipping audio or video constantly. The idea of doing this without sync markers in a multicam setting where the whole concept of sync is more fluid to begin with is terrifying. I’m sure there are many valid workflows within X that can handle this, but I will say to an outsider it sounds like jumping out a plane without a chute.
Herb Sevush
Zebra Productions
—————————
nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[Jeff Breuer] “I haven’t used much Digital Juice stuff. I know others have mentioned it here. What are you thoughts? Think it is worth it?”
Their music library is pretty good, the stock footage is OK and I find the graphics and templates to be very cheesy. As for cost, you have to look at how much you would use their service. A subscription binds you to one source, tempting you to use their stuff even if it’s not the best for a given situation. In general I’d advise against any type of subscription service, says the guy who is about to subscribe to the Adobe Creative Cloud.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[Craig Seeman] “All this could be a mess of separate daisy chained single drive enclosures but I want to avoid that mess”
I know I’m just dreaming, but wouldn’t it be nice if you could put those drives INSIDE the base computer. Wow, what a great idea, no cables at all, no ports used up, no separate power supply or cooling fans to deal with — I wonder why Apple never thought of that.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[Jeremy Garchow] “So even if you don’t depend on Apple for you NLE needs, do you depend on them for your edit and deliverable?”
Yes, at the moment. However there seem to be a growing number of solutions to rendering ProRes in a windows environment. So yes, dependent on QT ProRes, but not necessarily on OSX.
Herb Sevush
Zebra Productions
—————————
nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[Bret Williams] “Hopefully edit* was a bit more advanced.”
edit* started out as D/Vision, which, along with EMC, was the best PC NLE editor in the 90’s. It was re-written for windows and then bought up by Discreet Logic, who wanted it to compete with Avid as an off-line editor to feed into the whole Smoke, Fire on-line system. This was viewed as a great move by D/Vision-for-windows users but was a nightmare, starting with the ill conceived name change to “edit*”. the problem from Discreet’s point of view was that it was too good – it was not only feeding into Smoke, it was, when combined with Combustion, beating the pants off it for a fifth of the price. It was easily the finest NLE I have ever worked with, although primitive by today’s standards, and superior to Avid in almost every way at the time, but not nearly as well known. When Autodesk bought up discreet, edit* became the victim of corporate infanticide, and I eventually moved on to FCP, a move that to this day I think of as a lateral, as opposed to upward, progression.
So yes, I think it was a bit more advanced than editDV.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[Bret Williams] “So is there a footnote or something? “
No footnote, it’s just that edit* was way ahead of anything like legacy when it came to rendering. Unlike legacy it intelligently rendered only what had to be rendered to effect actual visual changes to the timeline. And the new renders had their own “track” on top of the timeline.
Mow it’s been 10 years since it was EOL’d but I believe the renders came in layers, and could be deleted to re-reveal old renders underneath. It wasn’t automatic, but if you wanted to restore something in the middle of a long and complex render it only took a moment to accomplish. At least this is the way I remember it. Hopefully another old edit*or can come on and confirm or deny.
Herb Sevush
Zebra Productions
—————————
nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf