[Herb Sevush]

[Tony West] “Looks like to me his focus was more on showing their collaborative workflow and may have just been roughing that grade in order to get to what he was really showing you. “

When the project was sent over to Matt, he had his scopes up when looking at the material, so I agree that I don’t think they are really grading by eye on a computer screen when dealing with an actual edit..

Herb Sevush
Zebra Productions
—————————
nothin\’ attached to nothin\’
\”Deciding the spine is the process of editing\” F. Bieberkopf

[Herb Sevush]

Thanks for that Oliver, good interview.

Herb Sevush
Zebra Productions
—————————
nothin\’ attached to nothin\’
\”Deciding the spine is the process of editing\” F. Bieberkopf

[Herb Sevush]

[Bill Davis] ” the need for scopes and keeping “within the lines” on stuff like the broadcast NTSC 100ire limit might be less mission critical than it used to be.”

A minor point here. The 100 ire limit is a legacy of early analog transmission where video over 100 ire often bled into the audio track creating a buzzing sound. There has been no reason to stick to that limit in HD other than bureaucratic laziness. Many broadcasters, other than PBS, allow highlights that go up to 104 or so.

As for using a computer monitor for grading, I’ll quote Richard Pryor – “who are you gonna believe, me or your lying eyes.”

Herb Sevush
Zebra Productions
—————————
nothin\’ attached to nothin\’
\”Deciding the spine is the process of editing\” F. Bieberkopf

[Herb Sevush]

[Steve Connor] “f After Effects wasn’t so dominant I think Premiere’s user base would be considerably smaller and Resolve would be making a much bigger impact than it is.”

True, but that’s like saying if it wasn’t for the wheels my car wouldn’t go as fast. AE/Photoshop/Premiere – and I would add Audition to this list – is what you get for your $50 monthly, and I would agree that AE & Photoshop are the jewels in the crown, but you don’t get to slice and dice, this is the package under discussion. And this will be truer if/when the integration between them becomes tighter.

Herb Sevush
Zebra Productions
—————————
nothin\’ attached to nothin\’
\”Deciding the spine is the process of editing\” F. Bieberkopf

[Herb Sevush]

[Oliver Peters] “So development is steady but incremental.”

I don’t find it incremental so much as indiscriminate. They’re jumping around to whatever the latest fad is – HDR, 360VR, instead of fixing and improving the features they already have. And once they’ve brought out a feature they rarely improve it – Lumetri being a notable and welcomed exception. Take Warp Stabilizer – it’s useful, but there are any number of improvements they could make – a bounding box for example or the ability to keyframe into and out of the effect – but nope, they’ve brought it out and just like any non-subscription service, bringing out a new, sometimes half-baked feature seems to be more important than improving already existing features. I thought that this was something the subscription paradigm was supposed to address, but I see no difference between Ppro and any other NLE in that regard.

Herb Sevush
Zebra Productions
—————————
nothin\’ attached to nothin\’
\”Deciding the spine is the process of editing\” F. Bieberkopf

[Herb Sevush]

[Oliver Peters] “Poorly veiled pitch to promote Resolve training.”

But still there is more than a kernal of truth here. For “Indy” or student filmmakers, without a reliable cash flow, spending the money for Ppro is not something I would recommend either. It is also fair to be disappointed with their rate of development compared to Resolve, especially because the subscription paradigm was partially sold on the idea that it would fuel Ppro’s faster development. I’m neither a student nor an Indy, and my clients are totally Adobe, so for now I’m content to keep working with it, and sending in my bug and feature requests, but the video made reasonable arguments.

Herb Sevush
Zebra Productions
—————————
nothin\’ attached to nothin\’
\”Deciding the spine is the process of editing\” F. Bieberkopf

[Herb Sevush]

[Walter Soyka] “any would-be switchers ready to jump to Windows now that delivering the industry’s favorite format is no longer an issue?”

A very large Hallelujah is in order. For the moment I am tied to the Apple ecosystem because of my client, but this very much affects the nature of my next workstation purchase.

Herb Sevush
Zebra Productions
—————————
nothin\’ attached to nothin\’
\”Deciding the spine is the process of editing\” F. Bieberkopf

[Herb Sevush]

You can use the ambient audio if it is loud enough and well defined to create multicam clips with all your material. But you can’t re-sync a multicam source a second time. You can add shots manually, as you seem to be doing. The only thing you might try is creating another multicam clip with all sources using audio to sync, then copy only the xtra clips you are talking about and paste them into the original multicam timeline.

Herb Sevush
Zebra Productions
—————————
nothin\’ attached to nothin\’
\”Deciding the spine is the process of editing\” F. Bieberkopf

[Herb Sevush]

great article, thanks for posting.

Herb Sevush
Zebra Productions
—————————
nothin\’ attached to nothin\’
\”Deciding the spine is the process of editing\” F. Bieberkopf

[Herb Sevush]

Over on the “Business and Career Building” forum there’s a very interesting thread detailing the reasons for the “new Look.”

https://forums.creativecow.net/readpost/17/883710

Herb Sevush
Zebra Productions
—————————
nothin\’ attached to nothin\’
\”Deciding the spine is the process of editing\” F. Bieberkopf