Herb Sevush
22
COW Coins
20
Premiere Pro Coins
Forum Replies Created
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[Aindreas Gallagher] ” X is probably vegas for OSX at this point. “
Great line. Do you think Apple will use it at NAB?
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[Steve Connor] “I’d say it was probably PPro from a couple of years ago!”
The similarity between X and early PPro is strictly about market penetration, and even there it’s not very strong.
The Vegas comparison, market penetration aside, seems to me more apt.
Like X, Vegas tried a non traditional approach to timeline editing because it stated life as a DAW. It was in some ways superior to most NLEs, especially in audio and EFX, but never caught on because it’s paradigm was so different, although it’s cult of adherents love it. Sound familiar?
Lance should be the one to weigh in on this one, because of his experience with Vegas.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[Chris Conlee] ” To date, Boris is available,”
On their own forum users are stating that Boris only works with the older 32 bit version of Lightworks. Are you saying that the latest 64 bit version of Lightworks now works with the Boris family (Boris, Red, Graffitti).
[Chris Conlee] ” the API is freely available.”
But no ADK. so go ahead and develop something if you want, but don’t expect us to help or encourage you.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[Quintus Lubbe] “Having edited in Legacy and Premiere Pro, I can vouch for the fact that it is faster.”
So how fast is it when you come to a section that needs to go to Motion (or AE)for some work? I haven’t worked with an NLE that doesn’t have a connected Compositor in almost 15 years. So what’s your workflow there – create an XML of that section of the timeline, import in motion, connect media, export finished video, re-import into X and then do the whole dance all over again if you need to make a change. Is this the kind of speed your talking about?
Every NLE has strengths and weaknesses, the only thing that matters is how well they match up with your particular workflow. Talking about speed without specifying workflow is meaningless.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[John Pale] “Whether it works or not, I haven’t a clue …but on the Lightworks website, under tech specs/third party it indicates support for quite a few plugins, including some of the most widely used”
Unless things have changed in the last month or so, if you go the the Lightworks user forums you will find tons of complaints that the plug-ins don’t work as listed. Part of the problem is that a lot of users seem to be of the “open source” variety and only want open source plug-ins. Boris, in all it varieties, seems to work in the 32 bit version of LWKS but not in the new 64 bit version. As for the rest, not so much. There is no published Accesory Developers Kit to help in the creation of 3rd party plug-ins and not much interest in doing so, at least from what I gather whenever I lurk on their forum.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[Tim Wilson] “Is it all that compelling except philosophically?” By which I mean — sure, fun to have in the bag of tricks, but really? Change horses?”
As someone who remembers Lightworks (and later Heavyworks)when it first appeared, the original appeal was that you could physically operate it like a flatbed film editor. It was designed specifically for feature editors who were being pushed towards digital but didn’t want to touch a mouse or keyboard.
The appeal now is for other things. Linux, for those so inclined. An alternative to the 3As, and their 3 issues – Subscription, Stodginess, and WTF. For someone looking for a modern, perpetually licensed, traditionally tracked editor, whose parent company isn’t falling apart and that is ostensibly designed for high-end broadcast and features Lightworks seems intriguing.
In my case not enough so that I would switch to it. If Editshare ever decides they want to get in on the NLE market seriously, I would think it could carve out it’s own niche. At the moment it still seems like a hobby for them. Or maybe I underestimate the cost of development and overestimate Editshare’s pockets.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[Jeremy Garchow] ” I know you haven’t really played with many NLEs software yet, but I wouldn’t consider Pr, by itself, an all in one, or Avid, or even Smoke. FCP7 certainly isn’t (the quality of fcp7 effects have always been pretty dismal) and FCPX isn’t either. But, as you say, there does have to be certain fairly finished amount of really high quality temp capability, and sometime that temp quality can be pretty damn great.”
I don’t expect an NLE to have all the capabilities I want, but I do expect there to be some integration with plug-ins to be able to get me there.
Between Motion, Colorista, Mercalli, Plural Eyes, and Twixtor, the FCP7 eco-system gives me all the video tools I need. Same would be true, with different combinations of plug-ins, for PPro, Avid, FCPX, Edius and Vegas — but not with Lightworks, at least not yet. And that is a big difference. Which is why I wish they had spent their time figuring out how to work with something like Boris FX or Colorista, as opposed to trying to port it to OSX.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[Jeremy Garchow] ” I think this is the first “release” version for Linux as Lightworks is no longer free. It’s still very cheap.”
The Pro version, at least on windows, has been around for over a year. The only new thing is now they are also offering a straight purchase — they are the anti-Adobe, starting with a subscription and now moving to a perpetual license. And the Lite version is still free — limited codec support, limited i/o, but quite usable for many things.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[Jeremy Garchow] “I will forever be the idiot in the room, but perhaps I am misconstruing the details.”
No, I guess it’s news that it’s no longer in Beta, but with Lightworks so far I haven’t seen much difference between public Beta and official release. So i guess this means I am the idiot in the room – a crown I will wear with pride.
[Jeremy Garchow] ” I don’t know if you were following the FCPX Keyer threads …”
Yes, with great interest.
[Jeremy Garchow] “but an NLE is expected to be so much more than an NLE these days.”
This has been true for about 10 years. Even if it’s only temp EFX and Audio Mix, the days of off-line quality NLEs are long gone.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[Bob Woodhead] “But isn’t this the qualification bar for a truly “professional” NLE? At least, so I’ve heard. If it’s good enough for a feature to be edited…”
One of the most counter intuitive aspects of our industry is that high-end feature editors are sometimes the least technologically advanced editors you can find. Feature editors were the last hold-outs for the upright moviola when the flatbeds came out and they were very late to accepting the digital NLE. While Avid’s seem ubiquitous in Hollywood now, it wasn’t so many years ago that most feature editors swore they would never touch them. When you can afford to hire as many assistant editors as you want, and when all EFX and audio work is outsourced to specialists, you can cut on pretty much anything that you want.
Herb Sevush
Zebra Productions
—————————
nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf