[Les Kaye]

[Thax] “[Rory Hinds] “Is there any way I can go through some footage, mark my stills using markers and then have FCPHD export the marked frames as stills in a batch? ”

I’ve never heard of an edit system with such a feature.
By the time you went to the trouble to “mark” the exact frame you wanted, you could just go ahead and EXPORT it right then (you could build a quick “macro” that would be a shortcut.) “

Discreet edit had multiple format (video, graphic) batch exports. Saveable batch scripts too

[Les Kaye]

Thanks much, just what I needed to know.

[Les Kaye]

Um, anyone else?

[Les Kaye]

Robert, you’ll no doubt hate FCP 2.0 if coming from edit 6.0 (just like the reverse would be true – DVision Online 2.0 vs FCP 5.0). It’s probably not a fair comparison, nor do I see the point, since you won’t be seeing what all the hubbub’s about in a 4 year old version of software. While I’m only now moving on to FCP myself, iirc, anything before 2.5 was not to be taken seriously. And as the thread on the edit forum shows, there are more than a few who aren’t taking it seriously even now (myself NOT included). If 5.0 is a nominal upgrade from 2.0, you might want to consider it.

[Les Kaye]

Kevin’s pretty much right. I believe FCP 2.5 was the last release to support the Targa card. THe issue was the same as with Win2000 or XP – no new drivers written by Truevision/Pinnacle.

[Les Kaye]

Will the transition be a piece of cake? No. Things to get used to? Yes. Some lame-brained programming in Avid? You betcha. Way more powerful than edit? Pretty much.

If you search the discreet edit archives there should be some posts from both Dave Friend and myself regarding caveats. Unfortunately moving to Adrenaline has its own pluses and minuses. One plus is that it’s more powerful than it’s XpressPro sibling simply by having the animatte, paint and a more versatile timecode window tool. From my experience on Adrenaline HD however, it also seems less stable than a regular Adrenaline or Media Composer, with much more rendering when in HD, and much more than on an XpressPro. You can also forget about Avid’s support in comparison to discreet’s (at least in the old days).

That said, I’ve been away from edit long enough that I’m very comfortable and more at ease with the Avid editorial workflow. I won’t say it’s necessarily better, just different. Trimming, nesting (subtimelines) for multiple clips or effects, multicam, audio handling and sharing projects are way more powerful in Avid. OTOH, there’s a certain ease of use and real time functionality in edit that can’t be dismissed. And both the Title Tool and Marquee in Avid pretty much blow…(although you can get – I believe – TitleMotion as an AVX plug in.

Avid’s fairly deep with multiple ways to accomplish something, and I’m still learning something every week. This might be one instance where patience and reading the manual would be virtues. Oh, and one more thing – don’t go mapping the Avid keyboard to edit’s before you learn the system. You’ll make it that much more difficult for yourself. Learn what can be accomplished first, then see what makes you comfortable. I myself leave the unshifted keyboard alone (except for using numbers for tracks as in edit) and use shifted functions for my normal edit type commands (Shift M=Mixer, Shift X= effects, etc. FYI – drop down and hamburger menu commands can also be keyboard mapped.

In any case, take all this from someone who’ll be (very) shortly moving over to FCP

[Les Kaye]

In case the first one didn’t come through, thanks Michael and TS. Just the kind of feedback I’m looking for.
-les

[Les Kaye]

Thanks Mark, we are doing our homework, but we are looking for real world daily workflow experiences. Since you have reality experience, can you offer your opinions on the Pros and Cons of both systems?

Walter’s response here, and Michael’s on the Avid COW forum, are precisely the kind of feedback that I’m looking for.

[Les Kaye]

Thanks Walter.

[Les Kaye]

[Carl Amoscato] “Looking at the online help, it doesn’t make much sense on the source side anyway”

Actually it does, since Avid only highlights previously used material that’s on V1 (I believe).

[Carl Amoscato] “which is why match frame on the source side doesn’t really do anything. (As you pointed out.)”

Again, it does if you need to match from a subclip or multicam group to the original master clip/