[John Pale]

To Chris

Very interesting. I have not tried FCP-X yet, so I had no idea that even existed. Seems like a logical way to address the problem, given the importance of tagging in X.

To Aindreas,

I’ve been editing for network/broadcast since 1998 (I suspect you have been at it quite a bit longer). Way back then, I took my first Avid course at a training center in NYC. I had done linear editing on corporate/industrial material for several years prior. The Avid class consisted of me, a very green freelancer, and the entire editing staff of a legendary, top rated network newsmagazine, that is still on the air today. Every single one of them absolutely hated everything about Avid and non-linear editing in general. Not without justification. In 1998, the tools were primitive and barely functional by today’s standards. It was very difficult for the instructor to teach, since he got vehement resistance on just about everything he tried to introduce. These people were at the top of their field, but by the time the class finished, I felt bad for them. If they couldn’t adapt, they were finished, and they knew it. FCP X might really be a hopeless pile of steaming poop…I haven’t tried it for myself yet, admittedly, and you have… but if the new approach is where NLE’s are going to be headed, you need to force yourself to keep an open mind.

[John Pale]

[David Cherniack] “At modern raid speeds and capacities it’s hardly insane. I used to do it all the time if I needed the extra quality for effects work. But you can capture to DnxHD in Premiere, and to Prores if you have FCP installed.
“

Sorry for the tone of my last comment. But really, the massive storage requirements for uncompressed HD are not realistic for full blown shows. Especially if you are a small shop doing multiple shows. There is just way too much media. If we are talking FX work…sure…no problem. The sheer volume of storage needed is much less.

Will DNX HD play out in realtime through a Kona or BMD card? That would be great, since Avid makes the encoder and decoder available for free. Paying for FCP and not using it, just to get the codec, would be a little galling.

[John Pale]

[David Cherniack] “Do you mean capture codec as in digitizing from tape?”

Yes.

[David Cherniack] “If you need to capture 10 bit all third parties parties provide uncompressed, which is better than prores. “

That’s insane. Not only does it require massive amounts of storage, the drives must be extremely fast and expensive. Broadcasters generally do not work with uncompressed HD. Its all Pro Res or Avid DNX HD. This is the main reason why those codecs were developed.

[John Pale]

Its the one big thing thats keeping me from considering Adobe more seriously. I think people have not thought about this issue. They just assume they can keep using ProRes without FCP. Apple only lets you read it without FCP.

Uncompressed HD is out of the question for my work…if JPEG was an adequate substitute, Apple and Avid would not have developed their codecs. It is certainly within Adobe’s means to develop a good codec…they need to step up.

[John Pale]

Yes, I know you can edit ProRes in Premiere, but because it’s apple’s codec, you cannot capture to it using Blackmagic or AJA. (well, not without FCP installed anyway)

FCP has ProRes, Avid has DNX… Adobe needs a real HD capture codec.

[John Pale]

[Simon Ubsdell] ” Absolutely fundamental to grown-up audio mixing is the ability to work with discrete channels, something that seems entirely at odds with the magnetic timeline. “

I think I can kind of see where this is going…Using the keyword and tagging capability of FCP X, you could identify what each of the audio items in the jumble of a magnetic timeline actually is. You could tag items VO, Music, SFX, etc. … and then on export, those tags are used to map to specific tracks in the AAF file.

[John Pale]

Kevin,

Does adobe have (or plan to have) a capture codec similar to ProRes for HD? I know you can edit ProRes just fine in Premiere, but I am asking about capture (via Kona , Decklink etc ).

[John Pale]

Open source editing would be like making an open source airplane.

Might be interesting, but I wouldn’t want to fly in one.

[John Pale]

Sorry…bad mousing…

Use Compressor to convert your footage to Pro Res before editing. There is a preset for ProRes.

If you drop them in a Pro Res timeline and render, it should work too….but make sure the frame size and frame rate match the source file.

[John Pale]

Use Compressor.