Michael Buday
Forum Replies Created
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Premiere Pro is certainly a huge step up from Premiere, but I would agree with those who say that it’s not yet ready to compete with AVID (or FCP). Don’t get me wrong, it does a lot of things really well, but in terms of project and media sharing (absolutely crucial for most network shows today), database and media management (again,, crucial), metadata I/O options and handling, Premiere does not yet measure up: it’s EDL engine is average at best, AAF support is still very primitive – and it doesn’t handle film metadata at all.
I understand that there are a huge number of users who don’t need these capabilities, and for those people Premiere is a great NLE front end to consider, especially when you take into consideration it’s tight integration with Adobe’s other products.
As far as Canopus Edius is concerned, again, does some things really well, but it suffers from even worse media management and is missing many standard features that top editors expect in an NLE. Yes, it’s effects engine is cool in that you can adjust effect parameters WHILE a clip is playing, but that fact that you can only have one sequence per project is a huge oversight and a complete show stopper for anyone who’s serious about having more than one revision of a cut available at a time.
Michael Buday
The Software Grille, Inc.
http://www.swgrille.com -
Kevin,
I would think that most operators would find that workflow to be a serious limitation if in fact, long media files are the cause of the problem. It’s now becoming commonplace for some show formats in LA to capture ALL the media on EVERY camera roll – especially for reality shows where NOTHING gets left on the cutting room floor, EVERYTHING gets digitized. The AVID has an option that allows long captures to be automatically broken up into smaller files – but the bin still points to a single contiguous clip. Does FCP have such an option?
I’m a great believer in doing what you say – preselecting my shots to minimize the amount of clips I need to deal with, but with compression codecs getting better everyday, and with storage getting cheaper, many users want to capture everything.
Michael Buday
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Thanks Oliver, but you’re right – I’m still confused! I think they have done some tweaking on the codec names ’cause I could swear that I saw 245mb/s and 180mb/s codecs on the MCA-HD I was using.
All the best,
Michael
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Just in case you’re interested, we sell a program that will convert EDL’s from one frame-rate to any other frame-rate – and it will do a proper conversion from 25fps>24fps. Remember, you not only have to take into account the frame-count for every TC position, but all the transition rates and any “offspeed” effects (slo-motion/fast motion, etc.)
Look for the EDLMAX-24 link.
Michael Buday
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First of all, what “Composer” are you referring to? Mac based? PC based? Software rev. etc.
Secondly, you mention that that you’re attempting to import a PAL Heavyworks OMF into a PAL Composer project, but you say the error message contains a reference to “24P”?
Are you importing this into “Video” based project or a “Film” based project?
And just for reference, most likely the problem is with the HeavyWorks OMF EXPORT, not the Avid IMPORT.
Michael Buday
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DVD’s appear as “read-only” to the operating system. If during the OMF import the AVID attempts to write anything to the drive it pulling the OMF from, it may cause an error like this. Since your hard disk is R/W capable, it doesn’t exhibit the same problem.
Michael Buday