Jason Porthouse
Forum Replies Created
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Yeah it’s odd alright. I’ve checked and double checked the system, it’s a clean install – so unless it’s some kind of funkiness between Mavs and X that I can’t fathom…
Another thing. When skimming footage the actual sound and the position of the skimmer on the waveforms don’t always match. Makes audio editing a bit hit and miss sometimes. This is true on at least 3 systems I’ve used… again a little thing but they all seem to add to the ‘aarrgghh’ factor.
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Before you criticise a man, walk a mile in his shoes.
Then when you do criticise him, you’ll be a mile away. And have his shoes. -
But if you drill into a lot of the features here Scott, they’ve basically covered all the bases – I’m not seeing a while lot that X can do that this can’t, mag timeline excluded – and multi cam by the look of it. And metadata export to ALE files could be a real cincher for many people – if you can log, tag and ‘favourite’ in Resolve and export to Avid for offline that will seriously sway some people, as it can work in conjunction with Avid (which many post houses still have and clients insist on) rather than as an alternative. I was asking on one of the X forums the other day about getting metadata from X into Avid – I’ve an edit coming up where the director likes working in X but the production company won’t hear of it. So Avid it is – but that means conventional logging and less flexibility for him. Metadata rich ALEs from this to a ‘known safe’ platform could really shake the market up, especially if people eventually realise that they needn’t go elsewhere for their finishing.
I think this is very exciting. Post has never had it so good…
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Before you criticise a man, walk a mile in his shoes.
Then when you do criticise him, you’ll be a mile away. And have his shoes. -
TBH ignoring it and moving on is probably good advice. But one thing – don’t come asking for feedback then get snarky when the feedback isn’t what you’d like…
I for one would value real-world testimony from editors as to how they best use the tools at their disposal. Really all NLEs are pretty capable, and affordable to most pro editors nowadays – so it’s not the $100K question it was ten years ago, where buying in to the ‘wrong’ system would cost you dearly. Now it’s more nuanced that that, and not one tool is right for all people – jobs, even – so some more touchy-feely stuff would paint a far more valuable picture.
Oh and one other thing – re the whole ad stuff – you’ve collected data from respondents (email) in order to see the results – why did you need to do that? Does smack a little of address harvesting, and may make people suspicious. Not an accusation, just a nod to the perception of users and how that might impact on results…
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Before you criticise a man, walk a mile in his shoes.
Then when you do criticise him, you’ll be a mile away. And have his shoes. -
One thing – why the 2000 cutoff? I’ve been using Avid since ’95 at least, so a bit arbitrary. Also why not have some subjective input too, and maybe a quesiotn asking what type of work you’d do on each NLE – for instance I have a definite preference for FCPX or 7 for short form work, and anything involving effects, but am less concerned with what platform I’m on if it’s a traditional documentary. Then things become much more even in terms of pros and cons.
Without some sense of why editors like which NLE, or what genre they’re working on, you’re not getting any useful information IMHO. Only numbers, which are fairly meaningless.
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Before you criticise a man, walk a mile in his shoes.
Then when you do criticise him, you’ll be a mile away. And have his shoes. -
Feck. I need to move. Rates are still about £250-300/day for broadcast editors in the UK, same as they were 10 years ago – at least in my experience – but it’s hard to gauge because we don’t talk about nasty topics like what you earn in the UK…
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Before you criticise a man, walk a mile in his shoes.
Then when you do criticise him, you’ll be a mile away. And have his shoes. -
Like Simon, mine was AMA in Media Composer. POS.
And like Shane, those further up the food chain who’ve never made a program but somehow have contrived to be in a position to tell you that you can’t.
Can I get a plug in for that? If so, what calibre?
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Before you criticise a man, walk a mile in his shoes.
Then when you do criticise him, you’ll be a mile away. And have his shoes. -
[james Lackleter] “Scroll down and read the thread I started before you buy it. The program is busted.”
Oh please, please put another record on. X isn’t any more ‘busted’ than any other NLE, and believe me I’ve used a few. Yes it has shortcomings, yes there’s some missing functionality that requires 3rd party tools to achieve, and yes it is different… but I’ve spent the last 12 months on Avid coming up against their particular brand of foibles (AMA anyone?) and you know what? That lost me MORE time on a project than anything I can think of in a fair while. And some things in X – mainly to do with the way it lets me interact with the footage – makes every other NLE seem positively stone-aged. IMHO.
X will do everything the OP needs. Whether or not it’s the most appropriate tool for him is another matter, and only some more digging will narrow that down. But saying it’s ‘busted’ helps no-one.
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Before you criticise a man, walk a mile in his shoes.
Then when you do criticise him, you’ll be a mile away. And have his shoes. -
Jeff, I’d be interested in finding out how you made that work on your 1,1. I did post a link to a blog – ’64 on 32′ – but for some reason I can’t fathom it’s not been allowed. Can you elaborate on how you did it?
Jason
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Before you criticise a man, walk a mile in his shoes.
Then when you do criticise him, you’ll be a mile away. And have his shoes. -
I’d tend to agree, particularly if there’s no real time pressure to get it online. Though 5 hours to share 40 mins might be a bit steep – is that to compress for Vimeo or to share to Vimeo – if the latter your broadband speed will skew results as it will depend on how long it takes to upload. So you may find a new MP less of a speed boost than you think.
I for one am finding it hard to justify, for the bulk of the work I do at my ‘home’ edit suite (despite the fact it’s fully kitted out for broadcast level production) getting a new MP – even the base model – when the uber iMac is so darned quick. It’ll do 90% of what I do faster than I can do it, if you get my drift.
Doesn’t stop me wanting a Mac Pro though…
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Before you criticise a man, walk a mile in his shoes.
Then when you do criticise him, you’ll be a mile away. And have his shoes. -
Yay! Downloading 10.1 now!!!
Lots of goodies in there!!!
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Before you criticise a man, walk a mile in his shoes.
Then when you do criticise him, you’ll be a mile away. And have his shoes.