Joshua Pearson
Forum Replies Created
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Nice discussion. Tim, I loved your deep essay about Avid… so interesting to hear inside info like that.
I also spent a couple years on Media 100 back in the mid 90s… the Media 100 card for $2000 was the bait, the amazingly affordable option to the hugely expensive Avid at the time… i used it with early Premiere at first but then kind of dug the Media 100 software, even though it only let you have two tracks of video!!! I cant actually remember why I liked it… maybe Premiere was crashy and Media 100 was more solid?… ah, the 90s. -
I had a brief fling with FCPX back in 2014-2015… cut an Oscar-nominated doc “What Happened, Miss Simone” on it and rather enjoyed it… except collaborating with the assistant was a pain. The our facility totally dumped FCPX becasue of the collaboration issue, as we often work on doc shows with two or three assistants and 3 or 4 editors… so we switched to Premiere and Avid.
I had to learn Avid from scratch at age 50, having originally learned on Premiere in the early 90s and FCP 1 thru 7… it was tough. But now I am spoiled rotten by two things about Avid:
1) ease of multi editor collaboration
2) SCRIPT SYNC!… we are lucky that we have budgets that allow for transcription, even in the FCP 7 days, and I had struggled for years to create workarounds to get ScriptSync-like features, such as pasting paragraphs into FCP7 markers which then become broadly searchable, etc. etc… even had a guy build some custom software for FCP7 back in 2015… and I was always shocked that no other NLE had this feature… so when i finally got on Avid, it was like my dream come true. All those wasted years!
We even pleaded with Apple reps who came to our shop during the Simone film to implement some sort of transcript integration, and they nodded their heads, but i guess they didn’t care… i get it, we are not their target audience etc. etc.. but still! I’m amazed no other NLEs have built-in transcript integration.
There’s lots of thing I could crack wise about in Avid (needing to render reverse clips? what century are we in?… though i hear its in the new version which we cant use yet), but I will never move from Avid until transcript integration happens elsewhere.
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I used to use AE a lot actually. Learned from one of the founders of COSA in fact. But I’ve also been using various NLEs since 1991, from Media 100, to Premiere, to FCP 1 thru 7, then FCPX. I can’t remember when real time reverse motion was enabled in these various NLEs it was so long ago. Long, long ago. Also I’m just puzzled by the ability to so many other FX in real time, but not this.
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not possible in Premiere… i just talked to a long-time avid editor who says not possible, but he uses the auto patching / keys-for-tracks / turn-everything-off-first then hit buttons method, but he cleverly uses Quick Keys to assign multiple tracks to one keystroke… i gotta get me some of that.
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Can’t figure it out.. Do you remember how you did it?
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Yes, that’s exactly what I want… I will test.
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I guess we could have made a mulitcam clip with only one camera angle ( and many audio tacks).
I realized though that some of this material IS gong to be mulicam (two camera) with nine unique channels of audio (i listened to them… lots of mics going)… so this defeats my whole idea of “collecting” all those unsightly audio channels into one nested clip, as multi cam clips ONLY edit ALL the audio channels into the timeline. Wah wah. -
… Or a new way to export an OMF or AAF or XML that “looks inside” nested material and allows Resolve/Smoke/Protools etc. to recreate the cut with original audio and video clips WITH their automation, not a single mixed down audio track.
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“Flatten” only works on Multicam clips, not nested timelines. You can right click on the nested timeline and turn it into a multi cam clip “enable” and THEN flatten it but you have to choose one angle to flatten to, including audio, so that won’t work for me.
I guess what I am envisioning is a way to “break apart” a nested sequence into its video clips and ALL its audio clips which would magically proliferate downward and push other conflicting audio clips out of the way (downward?) to avoid collisions. All just for the ease and speed of dealing with as few audio clips in the timeline as possible while editing, if so desired.
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Also, while i;m on the subject of nested sequences, when first cut into a timeline, a nested audio clip will not display a waveform… we found that we have to “render audio”, which, if its a long nest, can take a while… is that the only way to get a nested waveform to display?