[Lj Corwin]

I appreciate both of you taking the time to respond.

Thank you, Gentlemen.

LJC

[Lj Corwin]

Congrats Dan! BTW, if you need any spare parts for your edit* systems, give me a shout. I’ve got doubles and triples of everything:).

Best,
Laura

[Lj Corwin]

Hey Fazz,

If you need uncompressed HD and you can pay it off hey, go for it. Particularly since you say FCP is not an option. Personally, I like the FCP interface better than Avid’s but FCP’s Media Manager (or lack thereof) made Avid the choice for me.

I use Marquee. It does a lot of cool stuff but it’s no Inscriber. I miss being able to independently change the height and width of a font. You can do this in Marquee but it’s cumbersome. Inscriber does have an avx plug-in for Avid but the titles get rendered as separate elements. Again, cumbersome.

The main thing I hate about Avid is the modes. For example, having to go into segment mode to move something is so annoying. So many keystrokes to do so little. The only people who argue with me about my hatred of modes are, well, Avid editors who have never used any other NLE.

The thing I love about the Avid is the talent pool available to me, the flexibility of working in groups by sharing jobs and media, and the abilty to start and or finish elsewhere. Aside from that, after working on edit* for years, I think Avid is an overpriced, clunky, slow, outdated jalopy of a system that I feel I must own in order to be competitive in the marketplace. So the only thing I like about it that it is a standard that keeps me in the game. I believe this is what Avid relies on to keep their arrogance thriving.

Just my 2 cents-Laura.

[Lj Corwin]

I totally agree. I am also an ex-discreet edit* person and have been the owner of (2) Adrenalines and (1) Media Composer “Light” for the past year. My work is episodic television and long-form documentaries. The Adrenaline is more than enough to deliver to the networks. For Varicam stuff at 720p, Adrenaline is fine. We recently did a doc for PBS Frontline and they require the final finishing to be on THEIR Symphony Nitris in Boston so being able to simply consolidate everything to a drive and send it up there from NY was easy enough. My point is, if you need full HD on only a few occasions as we do, it seems easier and more economical to port the job over to someone else’s Nitris and finish there.

And yeah, there is no f*^%k%g way I’d give Autodesk another cent.

[Lj Corwin]

The answer lies with the house that is doing your telecine. Coordinate with them.

[Lj Corwin]

I usually give them a C-Mode CMX3600 EDL. As long as the punch for each roll is on the hour, the colorist should be able to deal with corresponding the TC to keycode. But of course you should talk to them before your session.

[Lj Corwin]

If you don’t have FTP set up, you can go to:

yousendit.com

You can upload files up to 1GB in size. Then, an e-mail message goes to your client with the link to download it. It’s totally free and totally to use. That’s how I send out my stuff for approval (30 min. shows, WM9 files).

Later,
LJ

[Lj Corwin]

Your explanation was totally cool. I played with transform today and yeah, I think I can make it work for me. A little cumbersome but not unworkable.

Thanks so much for replying!

Later,
LJC

[Lj Corwin]

Thanks for the response. I guess I’ll have to settle for using Titlemotion as an outside app. What a drag.

Anyone have any thoughts/info as to Avid maybe implementing TitleDeko as a titler since the acquisition of Pinnacle?

[Lj Corwin]

The effects editor within the titler? If so, he Title Tool or Marquee?

Thanks,
LJ