Michael Phillips
1
COW Coin
Forum Replies Created
-
The rendered MXF media is compatible, and you can open sequences in earlier versions but it depends on if you are using something in v6 or later that is not available in 5.5. For the most part, I think you’re good.
Michael
-
Seeing as *edit was mainly a rebranded D/Vision product, they are probably better off looking at what *edit did well and write the code natively within Smoke. I can’t see any of the code being re-usable due to age and difference of platform. And look to what other NLE’s do well in the process (which I know they are doing).
Michael
-
OK – credit when credit is due – Avid did do a very nice follow up refinement with the latest point release (6.5.2) to the select left or right feature with an option modifier to not select filler. So while I may be critical to features taking many version to be refined from the v1 release, this one was done within a 12-18 month period.
Michael
-
Probably just the last frames will do, but I always found it easier with my limited typing skills to not worry about changing between : and ; when typing a timecode… 😉
Michael
-
There is a big difference between a 64 bit total rewrite and supporting 64 bit when it comes to the application. Now granted, it doesn’t mean that some parts of the code haven’t been rewritten to take advantage of additional memory and access to more CPU processing, but if it was a total rewrite, then why put back in the same limitations such as not being able to save in the background, click in the UI while still playing without stopping, etc.? 🙂
I believe the marketing message was, the 64 bit architecture is now available so they can add all these types of features in the future as it was impossible with 32 bit OS – now it is possible. For example, additional memory in theory would give access to true frame based metadata that is not just an offset count from head of clip (timecode, KeyKode, etc.) but lens metadata, GPS on moving shots, etc.
I agree on the plug-ins – perhaps it is the AVX plug-in architecture, or simply a matter of priorities and market share for the manufactures when they develop – a lot more people buying Adobe based plug-ins as well as FCP sheer numbers wise compared to Media Composer I would think. Don’t know for sure, but every vendor sets their priorities based on resources, and ROI.
I believe the editing interface can be enhanced and still maintain the goodness of what has been done since the first Avid/1 – it’s about setting a design goal of getting work done while staying focused on the picture and sound and not where you are clicking.
Michael
-
I use Smoke as my 2K+ conform system as I edit on Media Composer. Knowing many of the developers there, and their backgrounds, I know that conform will get better and better over time. Even during the beta there were some really nice additions.
Editorially speaking at this point. I refer to it as a conform editing. I wouldn’t edit my long form (features) with it to start, but works great when those tweaks are needed in the final piece without the need to roundtrip the changes and conform. I am sure more traditional editing style with some nice innovation will be thrown in.
Michael
-
I think you mean AMA and not AME (AME is Avid Media Engine) whereas AMA is Avid Media Access which lets you directly link to external file formats playback and editing.
Again, the EDL doesn’t know squat from import, AMA, whatever, it just lists the REEL from either TAPE or SOURCE FILE and the START timecode position of the edit and where it falls in time (record side sequence timecode). If you step through your EDL events and look at source/record timecodes as you step through your sequence events, they should be the same, if they are, then it now appears to be an FCP problem and I am wondering if you wouldn’t be better served with this issue on an FCP forum? Perhaps someone there has run into this more often.
Michael
-
Well an basic EDL is the great equalizer as it doesn’t know nor carry NLE version with it – it may be that FCP from 2009 has some limitations with files that have no timecode? Just guessing. But if you park on the same frame in MC and FPC they have the same timecode displayed?
Michael
-
Are Media Composer and FCP interpreting the timecode differently? And I use the word timecode loosely when it comes to the 5D depending on workflow. Did you insert timecode permanently into the file with an app like QTChange? Or is everything assumed to have 00:00:00:00 as start of clip? I will also assume that both apps are working at the same frame rate as source clips were shot.
Michael