Les Kaye
Forum Replies Created
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[eda] “AFAIK all current Avids allow this.”
Yes they do. However it is a VERY meager substitute for the more powerful (and foolishly neglected by Avid) feature of a viewer waveform that scrolls to follow a playhead indicator, and which allows for more accurate audio editing.
Much like Avid’s knucklebrained approach to handling alpha imports, this lack of implimentation (that most other NLEs now offer) is another one that defies logic.
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[John Baumchen] “It would allow me to open the audio file in the source or monitor window where I could set markers that are visible on the timeline”
Also, unless something has changed in the last six months, I don’t believe Avid allows a viewable waveform in the source viewer (unlike PPro, FCP, Liquid, etc.).
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Do you mean tabbing between parameters and simply typing in a value, which is in there?
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[Francois Stark] “Don’t even get me started on the poor reliability. Compositing on edit* was a nightmare.”
I’m not making excuses, but things were considerably better on the Targa card, thus I can’t disagree with you about the Digisuite LE. For whatever reasons, the LE really was a drag to work on, and helped bring about the death of edit*. Not that any of this makes a difference at this point, but because of this (and some nightmare support issues), I personally wouldn’t touch anything made by Matrox.
And yes, FCP is way ahead (except for those still living in the past). Still, playable picons and more detailed info in the timeline would be nice.
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[Christopher Wright] “What Apple got from Discreet was the ex-combustion coders who are now working on Motion”
Yep, and they didn’t even have to pay for that…BTW, there’s also one former discreet edit engineer working on Shake.[Christopher Wright] “Edit* was way ahead of its time. I wish Aplle would use even some of the features from Edit* in FCP!”
Well, the biggest missing featire is playable picons in a bin. However with scrubbale picons in FCP, I would imagine this might see the light of day at some point (just a guess). Other than that, the keyboard functionality in FCP far exceeds that of edit (although edit had a simpler more logical approach), as do many other other FCP functions. There were some other nice workflow enhancements (especially Capture and Logging) in edit, but it was definitely starting to show it’s age. -
[David Roth Weiss] “if you have any special filters or custom settings, those will be lost,”
David’s right, however there is a workaround for saving Favorite fx. Create a new project, call it “Favorites” (or whatever), and copy all the fx/fx folders from the original project into this new project. You’ll then be able to copy these fx into any other project.
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[j.north] “The Best Solution:
???”1- Match frame to the ORIGINAL source footage clip (IIRC, it’s option+command+F), set your speed change on this clip in the Motion tab, then edit it to the timeline.
2- Do a quick calculation of the duration of the clip in the Viewer that would give you the speed you want, then do a Fit to Fill (i.e. if I want a 33% speed change of a :04 clip in the timeline, I just mark a :01+10fr duration in the source Viewer. Then Fit to Fill.
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[R. Hewitt] “One thing is very clear from this; Europe is heading in a very different direction to the US”
I’m sorry (and not trying to be contentious), but where in this thread was this made clear?
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Who says we were joking?
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I know the future of Western Civilization depends on this, so I will report back Monday evening.