Les Fitzpatrick
Forum Replies Created
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Thanks Noah. Does the Blackmagic loop?
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I know the strains of educational budgets are immense, typically disallowing the acquisition of multiple tools. However, if a graduate seeking an editorial career doesn’t have at least a basic working knowledge of the triumvirate of Avid, Premier and Final Cut, they stand a two-in-three chance of hitting a dead end. With that said, it matters far more that they understand story-telling, invaluable training that can be had using any NLE on the market.
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Brilliant.
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Tom,
Your reply is very helpful. I’ve had Premier as part of the Adobe arsenal for years and never opened it. I’m inclined to jump in and get wet. On the Avid front, the Nitris box is end-of-life as it pertains to 2/4K yet there’s no hint of an affordable solution from that camp.
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I too recognize this is something of an ancient post. The question of brand loyalty is on my table now. I’ve been an Avid-only owner since 1989.
Now it’s time to consider a 2/4K camera purchase. I’ve heard nothing from Avid regarding their plans to move MC into the 2/4K space. I appreciate the price point for MC 7 as well as Symphony. I really appreciate how reliable the Avid software has always been.
Has Adobe Premier become bullet-proof enough to migrate to from Avid? Is it still buggy? What hardware do most professionals use for i/o? The notion of adding Premier to my Adobe tool belt is intriguing.
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Jeremy,
You are so right. The cloud is truly vapor-only at this time as it pertains to throughput and cost per terabyte. As to “extra software,” I’m speaking not to software but software support–the annual tithe all the archival solution providers want in perpetuum. It’s got to get simple!
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There are actually two costs for LTO-5 solutions regardless of whether you employ Bru, Cache-A, SDNA, etc. Besides the up-front pricing, you face annual software agreements which are quite pricey. I suspect as the archival industry matures, these extraneous costs for upkeep will diminish. I wish I could hold my breath for a cloud solution, something I’ll readily pay for when we reach efficacy. While there are cloud solutions available, the industry leaders/enterprise solution providers ask about $2,000 a month for 10 terabytes. For my small shop, I consider this to be more than 2000 times the cost I can afford to pay. Today, the archival industry is in the baby-step phase yet millions of users are prepared to spend good money for a safe tapeless environment.
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Dear Mom,
Moments ago I got a delivery notice email from B and H. My Sound Devices Pix 240 is in the mail! I placed the order June 9th. I believe a game-changer is on the way. Well, my game anyway. This is all very exciting, especially with the recent arrival of an LTO archive solution.
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I made my Pix 240 purchase in May and was told delivery would be mid-June. In July I was informed delivery would be the first week of August. Today’s news is the Pix 240 will deliver in mid-September. I’m dazed and confused!
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Michael,
Thanks for your response. Actually I wasn’t contemplating going out of the Avid box regarding a work station acquisition as much as reaching out to the community for input about specific tools. Your comment about liquid cooling is exactly why I submitted this post. I will spend more time seeking information on the efficacy of that purchase decision but would be fine saving the $100 plus dollars on the liquid option.When I reviewed Avid’s published qualification list early on, I saw that it might be a bit dated. Frankly, my direct queries to Avid sales representatives in the past has been spotty in terms of product knowledge or specific guidance. Clearly (to me anyway) the most valuable knowledge base includes you and myriad others who drive the tools.